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MUSICAL INSTRUMENTS
PART I,— Issue, 180 copies
" The Irish and the Highland Harps "
On receipt of £3 for each volume, a limited number of copies
will be forwarded to private individuals, or to Booksellers, free in
the United Kingdom.
ROBERT B. ARMSTRONG,
6 Randolph Cliff,
Edinburgh.
OPINIONS OF THE PRESS.
THE ATHEN.a:UM, 22nd July 1905.
"It is hard to overestimate the service clone both to archwologists and musi-
cians by this admirable monograph on tlie relics of a lost art.
"The Highland harp, twin sister of the Irish, receives, of course, from the
Scotch antiquary full and sympathetic treatment. He thinks the Scotch 'Queen
Mary ' harp worthy to be called the queen of the tribe, and this may be admitted
as far as the condition is concerned. But surely the splendid restoration of the
FitzCxerald harp pictured on the cover of this stately volume far excels the rest
in artistic beauty, not only of form, but also of ornamentation.
"The decoration of these instruments is indeed a curious and wide subject in
itself, and Mr. Armstrong has given the student of Celtic ornament ample mate-
rials for studying this branch of it in the many exquisite plates, besides scholarly
drawings which make this volume a thing of beauty as well as a mine of learning.
" We can hardly imagine that this extinct instrument, representing an ex-
tinct art (or rather virtuosity), will ever again receive such elaborate handling.
All that can be said archajologically has been said by Mr. Armstrong, and
^3S-s
whatever can be added musically must come from some practical harp-player who
is able to make a comparative study of the early stringed instruments of cinlised
races."
SCOTSMAN, 16th May 1904.
"This handsome and valuable volume has already been full\ noticed (Leading
Article, 14th May 1904). It is right, however, to call attention to the beauty
and interest of the numerous illustrations, which include full-page plates figuring
the most interesting and famous specimens of the Clarscha. The volume is
addressed primarily to the archwologist rather than to the mere musician, but at
the end of each of the two sections into which it is divided there are examples
of Irish and Highland harp music."
GLASGOW HERALD, 3rd June 1904.
" Musical antiquaries interested in theso particular instruments have long
waited for a worthy historian of the Irish and the Highland harps. They have
found him at last in Mr. Armstrong, who has produced not only an admirable his-
torical treatise, but a beautiful work of art.
"The volume is one that the musical antiquary can hardly help losing his
heart over. To him it must be the poet's 'thing of joy,' a 'beauty for ever.'
" Shows a vast amount of original research, and embodies all the information
' on the books,' as the lawyer's phrase is. We cannot commend this book too
warmly to those interested in the subject. Mr. Armstrong is an enthusiast, and
an enthusiast with knowledge. He is the one living authority on the Irish and
Highland harps."
THE IRISH TIMES, 17th June 1904.
"This is a sumptuous work, about which it is very hard to speak without
being suspected of exaggeration. To musicians and antiquaries it will especially
appeal, not only bj' reason of the immense mass of knowledge it conveys, the
profound research of which it gives evidence, and the admirable lucidity with
which it is written, but also by reason of the splendid series of illustrations
which illuminate the text. It is produced, as we have said, on a gorgeous scale.
"The author is a high authority on the subject.
" We cannot do justice to the value of this fine work within the compass of
a brief review, nor indeed do we think that the parts of it wc would select would
be those which will be most prized by students, for, though it has great historical
interest, its real worth will be found in the minute technical details, which are
given with mast remarkable clearness and simplicity. Th(3 illustrations are
exquisitely done ; indeed, we have not received for a long time so interesting
a volume, so well written, so well printed, so well bound, and so beautifully
illustrated. It is certainly worthy of a place in any library."
THE NORTHERN WHIG, 28th May 1904.
" This magnificent and monumental volume is dedicated ' To the memory of
the patriotic Irishmen who endeavoured to preserve the national instrument by
establishing and supporting two Irish Harp societies at Belfast.'
" We have dealt with this book at great length, but not unduly in view of
the important place tlie Irish and Scottish troubadores filled in the social life
of their times, and the beauty and wealth of the poetry which has been dedicated
to their memory in the literature of both countries."
CORK CONSTITUTION, 8th June 1904.
" This truly magnificent book now before us contains as a first part the history
of, and a general dissertation on, the Irish and Highland Harps.
"And here we may perhaps appropriately refer to the illustrations in the
book, of which there are certainly a profusion and which enormously enhance the
value of the letterpress, as well as place before the reader absolutely correct
representations of the various species of harp referred to throughout the work.
These illustrations, indeed, call for more than a mere passing glance, and we do
not think it has ever been our lot to, so to speak, feast our eyes on more beautiful
or artistic examples of the handicraft of those who devote themselves to this
branch of book producing. The most noticeable feature is the exquisite render-
ing of the minutest details of the marvellous carvings and ornamentation with
which these ancient musical instruments are so profusely decorated, brought out
with absolute perfection by the soft brown photographic tone of colour adopted
in their production, which is so satisfying to the eye as well as to the artistic
instinct of the reader.
" Approaching the work itself, we may, at the outset, say that in the space
available for a review of this kind, it would not be within the bounds of possi-
bility to do full justice to the learning and facile power of description which the
gifted author displays throughout every page of his book.
"Coming to the second part, we find an elaborate and equally interesting
treatise on the Highland Harp, illustrated in the same exquisite manner as in the
case of the Irish instrument."
KILKENNY MODERATOR, 15th June 1904.
" Patriots, lovers of music, and bibliophiles must needs unite in acknowledging
a debt of gratitude to Mr. Robert Bruce Armstrong. Patriots are indebted to
him for a complete, interesting, and admirably written history of the national
instrument ; lovers of music, for a treatise on an instrument which has been
associated from the earliest times with the art of melody ; the admirers of hand-
some books will be delighted with a volume, which is a rare specimen of the
skill at once of the typographer, the illustrator, and the binder."
THE CELTIC EEVIEW. Vol. I. No. 2.
" The author of this book has brought together so mucli information on the
subject of harps, Irish and Highlantl, that it does not seem possible that any-
thing further tan be written about them. Surely he has omitted no reference
or quotation, nor any illustration, whether from metal, wood, or stone which may
bear upon his subject. Mr. Armstrong writes as one having authority. He
makes it quite apparent that he writes out of a fullness and uiiiuiteness of
knowledge, and a cultured and broad interest in all that appertains to the harp,
its construction and embellishment, its music, its performers, and its recorders
and historians. Every source, too, is laid under contribution, and as a result
we have a large and handsome volume which is in no hackneyed sense a mine of
information, and which will be a living pleasure to every one who loves the
music of the Gaelic people.
"There are many illustrations of old harps still in existence in the book, as
well as reproductions of old illustrations from various jjlaces. These are very
beautiful in tone and execution, and the drawings and photographs have evidently
been prepared with the greatest care. There are drawings and photographs too
of details of ornamentation of harps, which give us some idea of the very great
labour expended on beautifying these treasures, for they were indeed treasures
for the eye as well as the ear. And besides illustrating them, the author has
described the various instruments in great detail, their measurements, their
histories, and the famed musicians who used them. Indeed, not the least
charming feature of the book is the almost personal contact into which we are
brought with the makers and users of these beautiful old harps. A¥e see the
men who make the harps for the love of them, choosing with thoughtful care the
sallow and other woods which would give the sweetest tone. We can see them,
too, weaving graceful and intricate interlacing, and burning out the design on all
available parts of the frame. They worked, not for the price to be paid, but
because they loved music and art, and theirs has lasted as work done in such a
spirit does last. No higher praise can be given to Mr. Armstrong's own work —
this big book on the Irish and Highland Harp — than to say that it too is done in
this spirit of reverent love, and therefore it is of the best and will remain a
treasure-house of information for many generations of music-lovers."
PROCEEDINGS of the Society of Antiquaries of Scotland.
Vol. xxxix. p. 9.
"The carving (of the Queen Mary harp) is difficult to make out upon the harp
itself; but a Fellow of the Society, Mr. Kobert Bruce Armslrong, witii singular
skill and patience, has traced the design with a needle-point on sheets of gelatine,
and has produced a complete illustration of the harp and its decoration in coloured
plates in hie recently published beautiful volume."
ENGLISH AND
IRISH INSTRUMENTS
^I^S TM UME
^
!EMT BMUCE AMI
AUTHOR OF THE HISTORY OF LIDDESDALE A.C,
aej«
^^
:.--^n^ J^^J '^"7^^
MUSICAL
INSTRUMENTS
BY
EOBEET BRUCE ARMSTRONG
AUTHOR OF 'THE IRISH AND THE HIGHLAND HARPS,'
'THE HISTORY OF LIDDESDALE," ETC.
ENGLISH AND IRISH
INSTRUMENTS
" Music ! oh, how faint, how weak,
Language fades before thy spell !
Why should Feeling ever speak,
When thou canst breathe her soul so well 1 "
EDINBURGH
PRINTED BY T. AND A. CONSTABLE
1908
IMPRESSION
One Jnmdred and eighiy Copies
?6.
No.
(P.
Ajt^CJt^
Printed liy T. and A. Constable, Printers to His Majesty
at tlie Edinburgh University Press
MUSICAL INSTRUMENTS
PART II
English and Irish Instruments
A limited number of copies of this work will be
forwarded, carriage free in the United Kingdom, on
receipt of £2 per Vol. net, by
ROBERT B. ARMSTRONG
6 Randolph Cliff
EDINBURGH
CONTENTS
PAGE
Introduction, . . . . . . . . .1-3
THE ENGLISH GUITAR
Description. Popularity of the instrument. Gauge of strings. Tutors. The
manner of holding the Guitar. Of the right-hand fingers. Of the left-
hand fingers. Method of fingering the open notes. Double, triple, and
quadruple notes. A shake. A beat. A slur. Tuning and pitch.
Tuning in the key of G.
Music
Prelude by T. Bolton, E. B. A. When the Eosy Morn Appearing — Serenade.
A favourite song. Ma Ch're Amie. Prelude by T. Bolton. Highland
Laddie, with variations. Felton's Gavot, with variations. The Eakes of
Mallow, with variations, ....... 5-24
THE HAEP-GUITAR
Edward Light's first instrument. Descriiition. Manner of holding. Pitch.
Tuning. Gauge of Strings. Scale of the finger-board. Levien's improve-
ment. F. Chabran's Tutor. Scale of the Lute. The Apollo Lyre.
Lyre and French Lyre.
Music
Drink to me only. Julia to the Wood Eobin. The Duke of York's March.
The Maid of Lodi. Hope told a flatt'ring tale. Copenhagen Waltz.
Caulder Fair. A favourite air, with variations, .... 25-40
THE GUITAEE-HAEPE
Scale. Finger-board. Method of tuning. Transposition. Eule for accom-
paniment.
Music
Nel cor piii iion mi sento, with variations. Sonate. Pastorale, . . . 41-52
iv MUSICAL INSTEUMENTS
THE HARP-LUTE-GUITAR
PAGE
Efhvanl Light's second instrument. Description. His tutor. Scale. Fingering.
Tuning. Pitch. Gauge of strings.
Music
Five preludes. Lesson. Duet. Two melodies, ..... 53-66
THE HARP-LUTE
Edward Light's third instrument. Description. Development. John Parry's
Tutor. Pitch. Gauge of strings. The nut. Scale and fingering.
Finger-board. Manner of playing. Easy preludes. Mario playing the
instrument. Edward Light's /owrfA instrument. The Harp-Lyre, almost
the same as his H;irp-Lnte, . . ... . . 67-80
ADDENDA
Edward Light's Tutor. His method of holding the instrument. The slur, . 80«, 80i
ERRATA
Music
My Heart and Lute, K. B. A. Eleven preludes by R. L. Downes. Duet, Mozart.
Divertimento, with variations, R. B. A. Robin Adair, E. B. A. Ah!
vous dirai-je, Maman 1 with variations. Deserto sulla terra, R. B. A.
Ah ! che la Morte ! R. B. A. Liebe Augustine, with variations. Diverti-
mento, ......... 81-96
THE BRITISH-LUTE-HARP
Afterwards known as the Ditai^Harp
The ditierenco between this instrument and the Dital Harp explained. Edward
Light's attempt to perfect his Harp-Lute. His specification. He obtains
a patent for the mechanism. He finds with slight alterations the instru-
ment would become a small Harp. This, his jifth instrument, he named
the British-Lute-lIarp. A Directory published.
CONTENTS
THE DITAL-HARP
PAGE
Shortly after — that is, within a year— Light added one or two strings to his
instrument, attached Dital stops to the three bass strings, and then
named the instrument the Dital-Harp. The finger-board, mechanism.
Directions to correct defects in nuts or frets. Gauge of Strings. Tuning.
Scale. Chromatic Scale. Manner of holding and playing. Fourteen
exercises. The Graces. Change into seven major keys. The instrument
as represented by artists.
Music
Exercise for both hands — A Ground. Capriccio, 0 dolce Concento, with varia-
tions. The Cuckoo, R. B. A. Miss Wade's Minuet, R. B. A. Beautiful
are the Fields, R. B. A. A Favourite Air, .... 97-128
THE HARP-VENTURA
Description — An almost perfect instrument. Specification. Scale. Chromatic
Scale. Change of Key.
Music
A Venetian Canzonetta. Aurora che sorgerai. Fille so mai pretendi, . . 129-144
EGAN'S PORTABLE HARP
Description — Arrangement of Stops. Gauge of Strings.
Music
The Harp that once through Tara's Hall. The Legacy. Stanco di Pascalar, with
variations. My Lodging. Ye Banks and Braes, . . . . 145-1 GO
ADDENDA
The Apollo Lyre — Harp-Lute-Guitar — English Lute — The Harp-Ventura, . 161
Index, .......... 163-167
Errata, .......... 168
VI
MUSICAL INSTEUMENTS
ILLUSTRATIONS (FULL-PAGE PLATES)
Title-page — Arranged and drawn by K. B. A.
Sub-Title arranged and partially drawn by R. B. A. (Photo-lithograph),
Three English Guitars (Photogravure), ....
Lady Playing the English Guitar (Block Illustration),
Keyed Guitars, R. B. A. (Collotype),
Harp-Guitar (Photogravure), .....
Instrument — Edinbiugh University, K. B. A. (Collotype),
Apollo Lyre with Additional Strings, R. B. A. (Collotype),
Harp-Lute-Guitar (Photogravure), ....
Finger-board (Block Illustration), .
Harp-Lute with twelve strings (Photogravure), .
,, with fourteen strings (Photogravure), .
,, with sixteen strings (Collotype),
„ Mario playing the instrument (Photogravure),
Harp-Lyre, R. B. A. (Collotype), .....
British-Lute-Harp, No. 84 (afterwards known as the Dital-Harp), R. B. A,
(Collotype), ......
Specification (Photo-lithograph),
Lady playing the Dital-Harp (Collotype), .
Dital-Harp, No. IGO, R. B. A. (Collotype), .
Finger-board, R. B. A. (Block Illustration),
Dital-Harp, No. 305, R. B. A. (Collotype),
Harp- Ventura — Action by pressure and Lever Action (Photogravure),
Specification (Photo-lithograph), ...
Mechanism, R. B. A. (Photo-lithograph), .
Sub-title to Music (Block Illustration),
Cupids with Wreaths, etc., from Architettura by Andrea Palladio
Venezea (Block Illustration), .
Egan's Royal Portable Irish Harp (Photogravure),
4
7
14
24
30
32
52
57
66
68
70
76
78
96
98
100
102
103
104
128
130
132
137
144
144
CONTENTS
BLOCK ILLUSTEATIONS
Cupid playing the Lyre, .....
The English Guitar—
The Finger-board, . . . . •
Examples ii., iii. and IV., .
Example v., .... .
A Shake. A Beat. A Slur, Tuning,
Pitch, ......
Scale of the Natural and Flat Notes. Scale of the Natural and Sharp
Notes,
Scale in the Key of G, .
Melody in the Key of G, .
The Harp-Guitar —
Lady Playing the Instrument,
Finger-board and Chromatic Scale,
Scale of the Natural Notes. Levien's Improvement, R. B. A.,
Scale of the Lute, .
Harp-Guitar, from Bolton's Tutor,
Apollo Lyre, from Bolton's Tutor,
The Guitare-Harpe —
Three Examples, .
Scales and Finger-board,
Scale of C Major and two Preludes,
Harmonic Scales for Accompaniments,
Air, with various Accompaniments,
The Harp-Lute-Guitar —
Scale, and manner of practising the Scale,
Method of Tuning,
The Harp-Lute —
The Nut, R. B. A.,
Scale, Stop, and Finger-board, R. B. A.,
Cadences in eight Keys,
Chromatic Scale,
Double Notes and Easy Preludes, .
The Dital-Harp—
Notch, Tooth, and Mechanism, R. B. A.,
Spring, R. B. A., .
PAGE
viii
9
10
11
12
13
14
15
16
27
28
29
30
31
32
41
42
43
45
46
54
55
72
73
74
75
76
104
105
vni
MUSICAL INSTRUMENTS
Nuts and Frets — five Illustrations, R. B. A.,
Tuning, Cadence or Proof, .
Scale and Chromatic Scale,
Fourteen Exercises for right and left hands,
The Turn, Slur, Shake and Beat, .
Cadences of proof in seven Major Keys, .
The Harp- Ventura-
Spring of Lever Action and Scale of the Instrument, R. B. A.,
Chromatic Scale of the Bass Strings, R. B. A.,
PAGE
106, 107, 108
109
109
110, 111, 112
. 112, 113
. 113, 114
mt, R. B. A.,
133
134
INTRODUCTION
Musical Instruments, which are now obsolete and regarded as mere
curiosities, were of some importance in their day. On them our grand-
mothers, great-grandmothers, and other ancestresses still more remote,
played the simple melodies of the period in which they lived, and so
rendered their lives and homes more cheerful.
Many years ago the writer heard at least one of a series of lectures
upon Old Mvisic and Musical Instruments by the late Sir Robert P.
Stewart.^ There were then persons living who could play upon most
of those that came under observation, so, from the wire-strung Irish
Harp (a reproduction of the ancient Harp in Trinity College, Dublin),
down to the instruments in use at the commencement of the nineteenth
century, almost all were again heard in public. No such lectures could
now be given ; even the wire-strung Irish Harp, for which some of the
most enchanting melodies of any land were composed, is now unheard.
The blind harper, the lowly representative of minstrels, the cherished
guests of many mansions, has passed away, and there is now not a single
performer to be found.
The revival of obsolete instruments may not be required, but it is
certainly desirable that clear, distinct, and correct information regarding
them should be procurable.
A catalogue in which may be found incorrect (perhaps concocted)
names for instruments, concerning which the author could have had
no information ; instruments in our National Museums which are or
were incorrectly labelled ; a confused statement in our most important
Musical Dictionary ; the deplorable mistakes of artists who have intro-
duced into their pictures obsolete instruments, which they presumably
intended to represent as being played upon," — such are tlie conditions that
' The lectures were delivered in a hall in Abbey Vignoles's Memoir.
Street, Dublin, and are not noticed in Mr. O. J. - See jjp. 114-1 1.").
2 MUSICAL INSTRUMENTS
have induced the writer to prepare the following notes concerning a few
stringed instruments, some of which are now imperfectly understood. If
others who have paid attention to instruments of a different class can be
induced to give the information they possess to the public, interest
may be aroused, and the splendid collection in the Victoria and Albert
Museum — the property of the nation — may in the future be looked upon
as something more than a mere accumulation of decorative objects.
The instruments which are noticed in this work are elegant in
form, and for the most part full and sweet in tone. They are,
however, by no means perfect, and to this grave defect may be attri-
buted the fact that they are no longer heard, while the Spanish
Guitar, a more perfect instrument of inferior tone and form, is still
held in estimation.
The writer does not suppose that the following notes exhaust the
subject, but the information given may enable the reader to string,
tune, and perhaps play upon an instrument which he or she may possess.
They may also, it is to be hoped, prevent the instruments noticed from
being treated by artists In a manner otherwise than correct, so that
in this age of cheap reproduction we may not have a repetition of an
artistic absurdity transmitted to posterity.
It is impossible to give an exhaustive list of music arranged or
written for an obsolete instrument : rare as some of the instruments
are, the music is rarer still. An instrument which has been hidden
away in the lumber-room of the house in which it was once used
may be brought to light, but the music for it is scarcely likely to be
preserved. Occasionally a small volume is to be met with amongst a
miscellaneous lot, but now that the old establishment in St. Martin's
Lane, London, where collectors could possibly hear of what interested
them, is closed for ever, the difficulty of obtaining tutors and
advanced music for obsolete instruments has increased, — increased to
such an extent, that the preparation of such a work as this is now one
of real difficulty. It is to be hoped that those who are not collectors
of instruments, and who may possess tutors or music for obsolete
instruments, will send all such to the British Museum, of which institu-
tion the musical library is in some branches defective.
If there are inaccuracies in the following notes, the writer will feel
INTEODUCTION 3
obliged to those who may point them out. When his desire is to be
minutely accurate, he has no scruple in referring to the inaccuracies of
others. It is unfortunate, but true, that incorrect names, representa-
tions, or statements, when they occur in published works, are sure to
be repeated. Labels in museums can be replaced, but incorrect state-
ments or pictorial representations live, and may be referred to hereafter
as proof that the false is true. Is that desirable 1
or
<
THE ENGLISH GUITAR'
An instrument in common use during the eighteenth and at the com-
mencement of the nineteenth century. In form it somewhat resembles
a pear or heart. The head at the end of the neck is bent backwards, and
the strings, of which there are twelve, ten, or eight (to be afterwards
referred to), are attached to small ivory knobs at the lower end of the
body and stretched over a bridge ; the iinger-board, which is frequently
covered with ivory, being furnished with brass frets. The back of the
instrument is very slightly curved, and the neck is terminated by a
machine or other head, with twelve, ten, or eight keys or pegs. The
finger-board is pierced with as many as seven holes, through any one of
which a metal rod with screw may be passed, by which a piece of ivory
"capo-tasto" is drawn tight to the finger-board and fastened in front,
the fret below the " capo-tasto " taking the place of the nut, the pitch
being thereby raised one or more semitones.
The English Guitar was frequently in favour, and about 1770 "its
vogue was so great among all ranks of people as nearly to break
all the Harpsichord and Spinet makers. The ladies disposed of their
Harpsichords at auctions for one-third of their price, or exchanged them
for Guitars " ; and Kukman, the Harpsichord maker, almost ruined
himself by purchasing his own instruments. Kirkman succeeded in
changing the fashion by purchasing a number of cheap Guitars and
presenting them to milliner girls and street ballad-singers. These he
taught to play a few choi'ds, and so accompany themselves. The ladies
were disgusted ; the rage for the Guitar passed, and the Harpsichord
was again heard. While the Guitar paroxysm lasted, scarcely a song or
baUad was printed without its being transposed or set for the instrument,"
' There can be no question as to the correct Encyclopedia Londineusis, ami by Dr. Busby in
name of this inatrumeut. It is mentioned by his Concert Koom AnecJotes.
E. Light in his Instruction Book to his Harp- ^ G. Jones's article MDSic, in the Encyclopaedia
Lute-Guitar, by G. Jones in article MUSIC, in Luudinenais.
6 MUSICAL INSTRUMENTS
and if the reader examines the popular ballads of the close of the
eighteenth century, many instances of this will be found.'
Ladies either tuning or playing upon the English Guitar were subjects
which noted artists did not disdain to represent, and at the Guildhall
Exhibition in 1895 a portrait of the Hon. Mrs. Charles Yorke by Sir Joshua
Reynolds, No. 93, was exhibited. The lady is represented in the act of
tuning an English Guitar, which is most carefully painted. There are
sixteen frets and seven holes. When first sketched the ivory " capo-tasto "
had been attached above the fourth fret, but this was afterwards painted
over. In the National Portrait Gallery, Dublin, there is a fine engraving of
Miss Harriet Powell, 1769, by Richard Houston, after C. Reid, in which the
lady is represented as tuning an English Guitar. In three Instruction Books
that the writer has examined there are engravings in which performers
are represented to show the correct manner of holding the instrument.
The English Guitar was made in at least three sizes. On the finger-
board of the two larger there are fifteen or sixteen frets ; on that of the
smallest twelve frets. Those of the largest size that the writer has seen
were made in Ireland. One of these illustrated — signed W. Gibson," Dubhn,
1764 — measures from end to end 37 inches. The medium size illustrated
— signed Thomas Perry, Dublin' — measures from end to end 31|^ inches.
The smallest illustrated — by Preston of London — is furnished with his
tuner,'' by which the strings are tightened by a watch-key.
A small instrument of the eighteenth century, which measures from
the nut to the lower end 22^- inches, and from the nut to the bridge
16^ inches, has the following strings : —
GAUGE OF CENTRE* GAUGE OF OUTSIDE*
1. Steel wire, ...... j'^g of an inch above 1st C.
2. Steel wire, ...... ^g ,, „
3. Brass wire, ...... E, 2nd Octave.
4. Steel wire, ^-of an inch above IstC, Copper coil, E, 2nd Octave.
5. Steel wire, A, 1st Octave, . Copper cod, D, 3rd Octave.
6. Brass ® wire, D, 2nd Octave, . Copper coil, G, 3rd Octave.
' Dibdin's aongK, 3."i0 in number, as published •' 1776 to 18'J9, James Terry, another luaUiT,
by him or I'restiMi, liad many of them extra resided in Kilkenny,
settings for the Guitar. ^ The patent is not recorded.
' The writer has seen "Gibson anil Wnnington " '■ Erard's Gauge,
on a <iiiilar dateil 1770. ^ The eentrt' of this string is usually stet4 wire.
THE ENGLISH GUITAR
FROM Preston's EDixroN of bremner's tutor
8 MUSICAL INSTRUMENTS
An Instruction Book for the English Guitar was prepared by John
Bremner, a native of Scotland, who moved to London in 1762 and
established himself in the Strand. An edition of his Tutor, with sUght
alterations, was published by J. Longman and Co.^ about 1782, and another
edition was pul)lished by J. Preston.'' From these three editions of
Bremner's Tutor the following has been extracted :—
THE MANNER OF HOLDING THE GUITAR
Place it across the body with the neck inclined upwards ; then apply
your right hand near the bridge, so that your first, second, and third
fingers may hang over the third, second, and first strings, holding the
neck between the ball of the thumb and root of the forefinger, inclining
the heel of your hand up close to the neck. The best way to hold it
with ease in this position is to sling it over the left shoulder with a
ribbon fixed to both ends of the instrument, so that the hands may be
free to move up and down without interruption.
OF THE BIGHT HAND FINGERS
When the instrument is thus placed, hold up the wrist, so as it may,
together with the fingers, form a roundness ; then straight the fore-
finger and draw it across all the strings, beginning at the smallest. In
like manner return the thumb from the thickest, by whicli the position
of the finfjers will be discovered.
The true " fort " of the instrument is best produced by touching the
strings between the sound-hole and the bridge, though it will occasion a
pleasing variety to play sometimes near the bridge, and afterwards as
far up as the little finger ^ will allow the others to reach ; the tone of
the one resembling the Lute, and the other the Pipe or Organ. The
' There it is called "Cuitar (or Citra)." Another Bremner's 'J'litor, and also in Light's, may be
edition was published by Longman and Hroderip. found selections of music suitable for beginners.
2 Besides Bremner's Tutor, Straube )ire]iared Thompson and Son .ilso puldished aConijileto Tutor
an Instruction Book. I'reston publisheil in 17S3 for the (iuittaritind a Complete Tutor by J. Oswald
The Art of Playing the fJuittar, by K<lw.ard Light. will be hereafter referred to.
This work, which is quite distinct from Bremner's, •' Krom the first edition we learn that the
is of little conHeijucnce. Of Light more will little finger of the right hand should be ajiplied
be beard hereafter. In the three editions of to the end of the bridge next the smallest string.
THE ENGLISH GUITAR 9
running of the thumb and forefinger across the strings as before
recommended is a lesson sufficient for the first day : only the thumb to
leave one string for the forefinger to begin with, and so the forefinger
to leave one string for the thumb.
OF THE LEFT HAND FINGERS
Their business is to apply the strings to the frets (or brass bars across
the finger-board) so as to produce a good tone ; and this is best done by
pressing the finger on the string a little above the fret from which the
tone is received ; each of these frets is, in reality, a bridge, which, if the
string is made to rest firmly upon, must undoubtedly give a sound little
inferior to the open note.
Before the Guitar arrived at its present perfection, the thumb and
forefinger were recommended for use. There were some that recom-
mended only these two for all, but those absurd recommendations are
entirely exploded by all approved masters, for common reason tells us
that such instructions must mar the performance : had we a finger for
every string it would facilitate the execution ; nor is there any reason
why a finger that naturally hangs over a string should be idle, and
another come from a distance to do its office ; therefore it is absolutely
necessary to make every finger alike useful.
Example I. shows the notes representing the open strings and
also the finger-board of the Guitar with the letters marked. The x
1st string • . .
2nd String |
-
3rd String |
4th String —
5th String
6th String
indicates the position of the finger when the performer is tuning the
instrument.
10
MUSICAL INSTEUMENTS
Example II. shows a different method of fingering the open notes
from that formerly given. The first three notes are jjLayed by the thumb,
which must not be Hfted
at each, but made to slide
• o •^ 2l ll 1
* ■* over them. The next three
have a finger to each ; and
Example II.
i^
^
as their strings are double,'
care must be taken that they are struck so as to make them vibrate
equally ; only the last three are played by the forefinger instead of the
thumb.
X means the thumb."
1 means the forefinger.
2 means the second finger.
3 means the third finger.
Example III.
1 a
Another lesson on the open strings.
Example IV. is designed to exercise the fingers for double, triple,
and quadruple notes. In playing this lesson, the fingers must be pressed
equally on the strings, and then drawn in towards the body, the thumb
Example IV.
the reverse, at the same time viewing the strings on the finger-board,
to discover if their vibrations are equal, which, if otherwise, is a sign
they have not been equally pressed.
Though these Examples are but short, yet by repeating them (which
is here designed) they may be lengthened at pleasure, taking care that
' Such strings as arc close tn pach other are - In tlic Instruction Book it is in every case
unisons, or the same sound, and therefore ion- shown as o, hut as this sign points to tlie open
sidered as one. strings, x has been substituted.
THE ENGLISH GUITAR
11
no more time be lost between the first and last notes, than between
any two lying next each other. Each parcel of notes between the
cross-bars in Example IV. may be considered as a distinct lesson and
repeated as above.
Example V.
6th
5th
4th 3rd
2nd
String
String
String String
String
*
D
-a-
E
1
G
o
¥
M
D
9
E
o
V
1
X X
i
1st String
D E ? t
.1 .n
:g=sSi
Each note of the above scale has the proper finger of the left hand
marked above it and those of the right hand below. All that the learner
has at present to observe is to [jlay the notes as directed in the scale
and plan of the finger-board, Example I., the one pointing out the
proper finger and the other showing where to place it.
For example. The first note C is the sixth string open, the
second being D is the second finger on the same string, placed on the
instrument as represented by the letter D in the plan, and so of all the
other stopped notes.
OF A SHAKE
This seems to be the only deficiency of the instrument ; for in every
other respect it doubtless has the advantage of most others of its
compass, as it is capable of adding the full harmony to any note the
performer chooses, which, together with its melodiousness, renders it a
most elegant accompaniment to the human voice.
One method of a shake is by sounding the note above, and then
moving the finger of that note as on the violin. Another method is by
sliding the fingers over the string, beginning with the first finger striking
two strings togetlier ; for instance, if you wanted a shake on D, draw
your finger over the open notes E and D together, which, if done, will
have a very good effect.
12
MUSICAL INSTKUMENTS
The next is the same with the former ; only with this difference,
fj. that instead of moving the finger up and down
perpendicularly, it must, in falling and rising, form
an oval by which it will draw the string a little
to the side, so as to renew the vibration.'
i
OF A BEAT
f
This is best done by pressing very hard on the string, and moving
^ the finger that stops the note, which when done
j^E^ — ff must be kept down that the note itself may be
the last heard.
OF A SLUR
A slur on this instrument signifies no more than to point out such
^ ^— notes as are played by drawing the same finger
t^Tj* ?^^ ^ over them, except in the songs, where they like-
wise show such notes as are sung to one syllable.
The left hand may play the notes in such music as descend, which
is done by drawing the string to a side, in raising the finger from
the note above. When such notes as may be played
in this manner have dots above them, care must be taken
that these notes thus played be not stronger than the
others, otherwise they will have a bad effect.
OF TUNING THE GUITAR
Let the tliird string or strings be tuned the same sound with the
third finger on the fourth string of the violin, which is C.^ This done,
the second string is made to sound the same with .the
first finger on the third string of the violin, which is E —
it is a third to the former. Then tune the first string
to the third finger on the same violin string, being G ; when these three
are tlnis tuned they will be found these three notes.
i
' The following occurs in the lirst edition : —
The last is that used by the harjier, namely, by
the tluimb and foretinger on two diffeieut strings.
As, for instance, 8Ui)i)ose a sliake is wanted on D
on the fourth line, then it is performed by the
thumb and foretinger of the right hand, sounding
the note alternately with the open string above.
If this nietliuil is once acquired, it must be equal
to a shake on any instrument.
- It will be best to slack one string until you
get the other to the proper jiitch, then draw up
the other you slackened till it is in tune.
THE ENGLISH GUITAE 13
As a proof of what has been done, compare such notes as are crossed
on the finger-board, Example I., with the open strings above, and if they
have the same sound, the instrument is so far tuned. As for instance,
let the note that is crossed on the second string have the same sound
with the first string open, and so the third and second string.
The other three strings are no more than returns to the same sounds,
they being eight notes lower than the former, viz., the 4th is tuned an
octave to the 1st, the 5th to the 2nd, and the 6th to the 3rd.
REMARKS ON THE PITCH OF THE GUITAR
The notes appearing so high makes it seem impossible for the human
voice to accompany this instrument ; but when it is considered that the
music is set an octave above it to prevent too many leger-lines or
vmaccustomed clefs, the difficulty wdl be removed. The true state of
the open notes is this : —
The notes the Guitar 2>lays. 14) I J • T
The notes the Voice sings, f * T
J r r r f
Those Guitars that have moving bridges on the neck have the
advantage of the others, as by such the instrument is enabled to suit
the voice with any pitch of song.
Preston's edition of Bremner's Instruction Book concludes with the
following : —
" For the encouragement of those who are studiously inclined and
who wish to arrive at that degree of perfection which is only to be
attained by a series of unremitted practices, the Editor has prefixed at
the end of the book two complete scales of all the notes that may be
played on each string, whereby such a thorough knowledge of their
different situations on the finger-board may be gained as will enable the
learner to perform the most difficult pieces ever published for this
instrument with ease and facility."
14
MUSICAL INSTRUMENTS
Two scales of the natural, flat, and sharp notes on the Guitar, showing
how each note may be ])layed on three ov four ditt'erent strings for the
better convenience of executing ditiicult passages and double stops, and
what chord is produced by placing the finger across the tinger-board at
any of the frets : —
Scale of the Natxrral, and Flat Notes . ,
^ 4 ^ '^ ^ ^-^ ^ ^ 4 »i *
jj H d ^ 4.^1 * f 1 i f f
:j'| ^^ j \f f f \f I If y f T r
Scale of tlie Natural, and Sliarp Notes.
i
?f .'f '? »p
n f f ^ "f ^^
On examining the above scales, a professional guitarist stated that the
English Guitar can be played upon in all keys, but in many of them with
>-
UJ
THE ENGLISH GUITAK
15
difficulty ; further, that on account of the system of tuning, the instru-
ment must bt" much more difficult to play upon than the Spanish Guitar.
English Guitars were made with keys which when pressed struck the
strings. These finger-boards were occasionally fixtures, the strings being
struck from beneath, the strikers passing through apertures in the
ornaments which cover the sound holes.' The other form is Smith's
Patent Box,'' which was attached or removed from the lower end of the
instrument at pleasure. If a key was pressed, the string was struck from
above. Both are represented in the Victoria and Albert Museum.
Before concluding this notice, it is necessary to refer to " A Compleat
Tutor for the Guittar with two Scales shewing the Method of Playmg in
the Keys of C and G," by J. Oswald. This work, which was probably
published between 1755 and 1760, cannot be called an Instruction Book.
Plate I. has, besides the usual scale of the instrument in C, a very
unusual scale in G, the Guitar being then retuned a fourth lower.
1 ftring2*^flring3*^ftring ^ftring6*\tri^g^ftring fliiftjHand
o 2
• I
I I
i
m
m
o 2 4*
I <
I 1
-*
m
p
o 2 3 4
. • • '
. I ' >
t t •
Z
I
i
12 3 4
GA.BC .DEF.GA .EC .DEFG.GABC.
The advantage of this tuning is not apparent, for amongst the sixteen
pieces of music in G which appear in Book I., three descend to B, and only
one, which is reproduced on the following page, descends to G. In the
five Books which follow, there are thirty-four pieces in G, in none of
which do the notes descend below D, and one, so far from descending to
the low G, ranges from B on the stave to E in Alt. It is possible that
Oswald found his scale in G unsuitable, and abandoned it after Part I.
was issued.
' One of them ia the Victoria and Albert Museum this iu vention Christian Claus obtained a patent on
i3 stamped "Patent Instrument. Claus & Co., 2nd October 1783.
luTentor. Londou, No. 17 Garrard Street." For - The patent is not recorded.
16
MUSICAL INSTRUMENTS
Marella, n good player on the English Guitar and not a bad
com])o.ser, timed and taught the instrument in the key of A Major,'
but this was an exception. The instrument as a rule was tuned to the
key of C.
MUSIC
The following is some of the Music advertised : —
A New Collection of Scots and English Tunes adapted for the Guittar.
Printed and Sold by Neil Steuart at his Music Shop ojjposite the head of
Black fryers Wynd, Edinburgh. In this work, published between 1761
and 1765, there are 49 tunes.
Bremner advertises Merchis' Lessons and Duets, Divertimentos, Songs
Book 1st, Songs Book 2nd ; Straube's Instructions ; Maid of the Mill ;
Beggar's Opera ; Daphne and Amintor ; Gentle Shepherd ; Scots Songs
with a thorough bass.
J. Walsh published Thomas and Sally ; Midas ; and The Jovial Crew.
David Rutherford published " A Curious Collection of the most
celebrated Country Dances, Airs, etc., which are now in vogue," etc.
J. Oswald, besides A Compleat Tutor, Book I., published The Pocket
(!onij)anion, Books II., III., IV., V., and VI. ; also two Books of Diverti-
mentos and ten Songs; 12 Serenatas by Pereyra Da Costa ; 12 Lessons
by Mr. Bush ; Oswald's Airs of the Seasons ; Queen Mab ; Fortunatus ;
Harlequin Ranger and the Genii ; and The Caledonian Pocket Com-
panion, 8 vols.
' .\rticle MUSIC in Encyclopsedia Londinensis.
THE ENGLISH GUITAK 17
J. Bland published The Poor Soldier ; Robin Hood ; Castle of Anda-
lusia ; Beggar's Opera ; besides a Collection of Airs, etc.
Longman, Lukey and Co. and J. Johnston published The Padlock ;
Cymon ; Jubilee ; The Golden Pippin ; also Thackray's 1st and 2nd set
of Lessons, and Thackray's 44 Airs.
J. Longman and Co. published 12 Songs for the Guitar, with a Com-
plete Scale; 24 Easy Airs, by R. Haxby ; 18 Duettinos for 2 Guitars,
by Wm. Bates.
Longman and Broderip published Inkle and Yarico.
Edward Light published The Ladies' Amusement. It is also stated
that he published monthly a collection of lessons and songs called The
Musette.
C. and S. Thompson published The Duenna.
Preston published Richard Coeur de Lion.
Wilham Wilson of Aberdeen published 26 Songs, most of them with
excellent accompaniments.
Thomas Bolton' composed six Bondeaus, three Songs, and three
Preludes, and selected and adapted other three songs with accompani-
ments for the Guitar or Pianoforte-Guitar (probably the keyed instru-
ment already noticed). This work was printed by Longman and Broderip.
In the preface, Bolton states it as his intention to publish a complete
book of instruction, with plans of finger-board, showing the different
methods of taking passages, the proper rules for shifting the hand, and
the art of playing in different keys.
As already stated, the popular songs of the latter end of the last
century, in addition to the regular setting, had frequently special
arrangements for the Guitar.
Considering the popularity of this instrument, it is natural to suppose
there were many able performers, both professional and amateur, and that
advanced pieces for the more accomplished guitarists were written, but
no really fine advanced pieces have been met with by the writer.
• Circa 1760-1820. He resided at 10 Doiset Spanish Guitar, Pianoforte, Harp, Harp-Lute, aud
Street, Manchester Square, afterwards at 26 Buck- Lyre. He was by no means wanting in self-
ingham Place, Fitzroy Square. Besides being the esteem, one of his publications being respectfully
author of a treatise on Singing, Bolton wrote and dedicated to his admirers !
composed "The Village Fete." He wrote for the
18
MUSICAL INSTRUMENTS
When the rolV morn Appearing.
n
^^Modcr^ito
:he ro - fy mom Ap _ pearifip Paints with £old the Ve
^
^
J t 1 .'_
-" *■ wiT
i
en the fO-Cy morn Ap _ peariVig Paints with gold the Ver.dand lawn
'its on b.icks of thyme dif _ porting Sip the fweets and hail the daw
firbliop birds tJie day proclaimidv Ca _ rol fwcet the live - Iv Strain
Wirbliog birds tJie day proclaimidg Ca _ rol fwcet the live - W Strain
Tbe^ forfake tieir leafj dwel _ ling To fccnre
tent, the hum . ble pleanrr, take the Scatter'd ears that (all. Nature all ^
Chililren Viewinp Kind _ Iv boiiiileoiis cares for ali
THE ENGLISH GUITAK
19
Serenade
Voir
Gnittar
fal _ _ S^°^ break and odoara breatJbe
in ev ^ _ ry
^'^ly^a^l^rT°Pl^^j^
0)
Arife, and Aid the dawn, mj fair,
Difpute the blalh with yonder Eaft;
Thy breath fhall inock the fragrant air;
The light thj radient eyes increafe.
20
MUSICAL IKSTEUMENTS
A Favonrite Song from the Coniedj' of the Heirefs.'
"-. -tj^^^ I J i' . i_^ r^ I r^ rff^^^
. For ttMidrrnffM Ictrnid m Ijfe's early D:iv, A Pprents /oft forrows to mine lerl ibt-
n^i^lPjTgiFW^^IJtf^'l^^l^^l^^-E
The Nightingale plimriertl the mate wiHow'd Dove
The warbler] Complaint of the Suffering Grove
To vouth a.s It t ipenW gave fenttrnrnl New
The Object ftill changing the fympathy true.
Srjft embers of pafsion yet reft in their Glow.
A wnrmtb of more Pain may thi.t breaft never know
Oi if too indulgent the blefsing I claim
Let the Spark firop from reafon thst waken.s the
(flame
> The melody is by Paesiello, the introduction and aymphony by Linley,
anil the 8oug and necompaniment from a volume published by William Wilson, Aberdeen
THE ENGLISH GUITAR
21
Ma Chere Amie.
Voi,
Guiltar
r^ n
C2)
Under fweet friendfliip's Sacred name
Mv bofoin caught the tender flame
May Friendfhip in thy bofom be.
Converted into love for me.
Ma Chere £Cc.
(3)
Together rear'd together grown,
0 let as now anite in one»
Let pity foftcn thy decree,
1 droop dear raaid I die for thee.
Ma Chere 8Cc.
MUSICAL I N S T E U M E N T S
PRELUDE BY T.BOLTON.
Highland Laddie -with Variations
^^J
fi^^^^&^^^ppl^
THE ENGLISH GUITAR
23
Rltons Gavot with tlie Variations
24 MUSICAL INSTEUMENTS
The Rakes of Mallow with the Varitions
g^ijrcrjrirrrrirrrnjrjri
^rrrnrr/rcri'ij-ll
rtt^'irfli^rrr
Vaif»J»
irrnn^urn 1,^71^^
^^^^^^^
igaE
i
' var.if. -i^^
/J:jid:j:fLt:rit;f''^ffs
HARP-GUITAR
THE HARP-GUITAR
This instrument was, according to Dr. Thomas Busby, invented by-
Edward Light' about 1798.' Light has ah-eady been referred to as the
author of an Listruction Book for the English Guitar and an arranger of
music for that instrument. Whether his capabilities as a musician were
or were not of a high order, Edward Light ^ deserves to be remembered
as the inventor of four or five instruments, which, although imperfect, are
most artistic in form and generally charmingly decorated. The specimen
illustrated, one of the earliest, has "Barry Maker" painted upon it,
" Barry " * undoubtedly being placed over some earlier name, which
name is certainly not Light.
The name Harp-Guitar^ was probably given to the instrument on
account of the sounding-board and rounded back resembling in miniature
those portions of the Pedal Harp, while the neck with frets and head
somewhat resembles the Guitar.
Light's instrument, which has eight strings, was made in at least two
sizes. One with machine head (perhaps an addition) in the Victoria
1 There can be no doubt that Edward Light Dital-Harp. His works are now rare. There
was the inventor. One of these instruments were others of the same name who worked with
in the possession of the writer has eight strings, him. T. Light composed a Kondo, ,ind arranged
and is signed "Light luven' ; Barry Maker." it as a Duet for the Harp-Lute and Piano or Harp.
This instrument is not an early one, and has Richard Light wrote and composed words and
but ten frets. As Edward Light will be so music with accompaniments for the Dital-Harp,
frequently referred to, the following brief notice also Preludes and Cadences for the same instru-
may be of interest. He is believed to have been ment, and Duets for it and the Pianoforte. He
born in 1747, was Organist of Trinity Chapel, also wrote for the Pianoforte.
St. George's, Hanover Square, and taught the - Concert Room Anecdotes, vol. ii. p. 275.
Pianoforte, Singing, and presumably the English ^ A full and interesting account of Light will
Guitar and all the instruments he invented. He be found in the Dictionary of Natioual Biography,
was Lyrist to H.R.H. the Princess of Wales, and ' A. Barry of IS Frith Street, Soho, London,
resided at 16 Harley Street; at 34 Queen Anne was a maker of small instruments well into the
Street, Portland Chapel ; 8 Foley Place, Cavendish nineteenth century, and was certainly employed
Square, and later on at 38 Berners Street, Oxford by Light.
Street, and is believed to have died in 1832. He ^ There can be no doubt as to the name,
published for the English Guitar, the English I 'pon the title-pages of the Tutors by F. Ch.abran
Lute, the Harp-Lute-Guitar, the Harp-Lute and and T. Bolton there are representations of the
Apollo Lyre, the British Lute-Harp, and the instrument.
26 MUSICAL INSTKUMENTS
and Albert Museum measures 30|^ inches from nut to end, 25 inches
from nut to bridge, and has seventeen frets, the lowest being 9^ inches
from the bridge. The smaller size, represented by the plate, measures
2i^ inches from nut to end, ISf inches from nvit to bridge, twelve frets,
the lowest being 9f inches from the bridge, the greatest width of the
sounding-board 11|- inches. As before stated, another specimen has but
ten frets.
The writer cannot state that Light prepared a Tutor or arranged
music for this instrument, but he is almost certain to have done so.
Dr. Busby, who published in 1825, when Light was still alive, writes
as follows : " The strings of the instrument are seven in number ;
the highest six are catgut, and the other consists of silk covered with
silver wire. The scale and tuning are those of the common English
Guitar with the addition of the Fiddle G ; but its tone is very superior
to that instrument both in power and sweetness, and more than vies
with the mellifluence of the Pedal Harp." ^ On October G, 1825, the
year Busby published, Mordaunt Levien of London, a Professor of
Music, took out in France a patent for the importation and improve-
ment of this instrument, the number of strings being seven, and the
fingering similar to that of the common Guitar.^ This perhaps explains
Busby's inaccuracy.
According to Busby, Light's instrument, unlike the English Guitar
— which, as already stated, is tuned an octave lower than the written
notes — is tuned a major sixth lower than the written notes.
As the strings found upon the instrument illustrated are evidently
those which were upon it when in use, the unstretched portions have been
gauged in case they may be of some use to those wishing to string and
play upon one of these Harp-Guitars.
SPECIMEN ILLUSTRATED
1st. Missing. 2nd. Missing. 3rd. Gut, Gauge D, 2nd Oct.
4th. Gut, Gauge D, 3rd Oct. 5th. Gut, Gauge D, 4th Oct.
6th. Silver, Gauge G, 3rd Oct. 7th. Silver, Gauge A, 4th Oct.
8 th. Missing.
' Concert Room Anecdotes, vol. ii. p. 275. ^ Professor Niecks, from Chouqiict's Catalogue
of the Paris Collection.
THE HAEP-GUITAR
27
Early in the nineteenth century F. Chabran prepared Instructions for
playing upon the Harp-Guitar and Lute. Upon the title-page of this
work there is a ^iretty illustration, apparently by R. Williamson, in
which a lady is represented as playing upon a Harp-Guitar. This was
intended by Chabran to show the manner in which the instrument
should be held when in use.
"'tlicr Si-iip.
In the preface to his Tutor Chabran states that "the Harp-Guitar in
point of power and brilliancy of tone is little inferior to the Pedal Harp,
and as an accompaniment to the voice most undoubtedly surpasses all
instruments of a similar kind." Chabran's instructions are of the
briefest. He gives directions for tuning the 3rd, 2nd, and 1st strings
to the following notes ^r^f f f . and the bass strings in octaves down-
wards " except the last string, which may be tuned either in unison to
the F on the first space or an octave below." He certainly did not
follow Light, who tuned the instrument one-sixth lower than the written
28
MUSICAL INSTEUMENTS
notes ; so presumably he tuned it, like the English Guitar, an octave
lower; but he exjslains that by inserting the stop "capo-tasto" into the
upper hole upon the finger-board the tone is raised one note, and the
instrument instead of being in C is then in D major. When changed
to the second hole the instrument is in E flat, and when the third hole
is used the instrument is in E natural. Although Chabran gives little
information and does not notice the gauge of the strings, his Tutor is of
the first importance, as from it we learn that the eighth string is tuned
toF.
The folloTtring; Scale oftheFiwotR-BoARD shews how to stop every Note on the Instrument
The Finger- Board of the Harp-Guitar
^
Harp Guitar Tutor
8'^ String
7*?* String
Chromatic Scale.
6* String
S*.*" String
4■*^ String
##
I 2 3 4
1 a y
-i — e — 3-
O 1 2 3 0 i 2~^ 5~
NB. A Sharp or B Flat; C Sharp or D Flat; D Sharp or E Flat &c are the same Note.
THE HAEP-GUITAR
29
Eighth ^
String. 7.
m
oth
Scale of all die Xatoral Notes.
G AJBI f
5*
D I E
.th
nm
F G A
M4
D E F
GAB
C D E F.
m
-* = — ,*r—
d I *
5=fc
4 ' *
2 0
2 O I O 2 *
1 0 2 4
Z 2 4
The eighth string, which was afterwards abandoned, was certainly
in use about 1818, as we know that on or before that year Mr. Levien
of Pentonville,^ probably the person already referred to, produced
an improved Harp-Guitar. This instrument has a head somewhat
resembling the upper portion of a Pedal Harp. The first six strings
pass through metal loops, which
are screwed to that portion of
the sounding-board whei'e the first
fret is usually placed. Any of
these loops can be turned by the
tuning-key, which has a slit across
the handle for that purpose. A
string so acted upon being thus
raised or lowered a semitone, by this
means necessary flats or sharps
were to be produced, and the per-
former enabled to play much music
without the necessity of transposing
it into the keys of C, G, or F, as
was usual, or resort to cross-finger-
ing, the method previously in use
for the production of certain notes. The improved instrument, for
which Levien received a reward of ten guineas from the Society of
Arts, has eight strings ; but unfortunately Mr. G. Jones, by whom it is
described, has neglected to state the notes to which they should be tuned.
The writer has not met with one of these instruments, but the drawings
which illustrate Mr. Jones's notice are reproduced in outline (see above).
Fig. 1, the head of the improved Guitar, and part of the finger-board ;
1 From theTrie.inial Directory, 1S171819, it 56 Marchmont Street, Russell Square. He corn-
appears that Mordaunt Levien was then living at posed for the Guitar.
30
MUSICAL INSTEUMENTS
a. a. the nut, and h. h. the metal loops ai-ranged across, or in place of
the first fret. Fig. 2, a side vievf of these parts. Fig. 3, an enlarged
view of that part of the finger-board, containing the first fret, with the
loops screwed into it. One of the loops, a. a. is here represented as
being turned. Fig. 4, one of the loops with the screw-stem. Fig. 5,
section of the hole, the opposite sides of which are rounded off so as not
to injure the string.^ This improved Harp-Guitar cannot have been con-
sidered altogether satisfactory, for Levien shortly after abandoned the loop-
stops and produced another instrument, which will be hereafter described.
As before mentioned, F. Chabran prepared Instructions for playing
upon the Harp-Guitar and Lute. This Tutor was printed by Clements,
Banger, Hyde, Collard and Davis, 26 Cheapside. A Tutor by the same
person for the Harp-Guitar and Lute was also published by Clements
and Collard, Cheapside. A copy of the latter formed part of the musical
library of Mr. J. G. Morley, but is missing and cannot be traced. One
of the former is before the writer. In it there is no illustration of the
" Lute," but Chabran gives the scale which is here reproduced.
Scale of the Late.
Tenth
String
It may be noticed that this is not the scale of the Harp-Lute-Guitar
or of the Harp-Lute, but is the scale of the English Guitar with the
addition of four bass strings. There is a large English instrument
which the writer cannot name. The body, unlike the real " Lute," has
a flat back, and in form resembles that of an English Guitar. The head
is like that of the Theorbo, or double-headed Lute. One of these, by
Barry, may be seen amongst the collection belonging to the Edinburgh
University. This specimen has seven strings upon the finger-board and
three double strings in the bass off the finger-board. It cannot be
stated that this instrument is the " Lute " referred to by Chabran, but it
certainly could be tuned to the " scale of the Lute" as published by him.
' History of the Rise and Progress of Music.
By G. Jones. Extracted from the Encyclopaedia
Londinensia. London, 1818. For the use of
this rare work the writer is indebted to
Mr. H. Journet, 43 Tottenham Court Road,
London.
UNIVERSITY EDINBURGH
THE HARP-GUITAE
31
C Wheatstone published Instructions for his Improved Harp-Lute
by John Parry. On the title-page of an early edition, probably the
second, the following appears : " Also for the Lyre or Harp-Guitar."
Whatever there may have been in an earlier edition, there is nothing
in the one in question relating to the Harp-Guitar, and the statement
does not occur on the title to a later edition of the work.
Instructions for the Harp-Guitar and Apollo Lyre were prepared by
T. Bolton,^ before referred to, and published by Wheatstone and Co.
As not only the name but the representation of the instrument appears
upon the title-page of this Tutor, the engraving has been reproduced.
Bolton states that the celebrity of the instruments may be attributed
principally to their resembling, in point of tone, the real Harp. He also
tells us that the Harp-Guitar and Lyre, though different in form, are
played and fingered in precisely the same manner, — the scale being that
of the English Guitar," with the addition sometimes of a seventh bass
string, G. Bolton, as appears from the representation of the finger-board,
intended the performer to produce G|± AiJ Ajj: (or B^) and
BB from the G string, which string he states is most
effective, particularly in accompaniments, without which
the notes referred to could not be produced. He appar-
ently tuned the instrument like the English Guitar, an
octave lower than the written notes ; and although he
appears to disregard Light's system of tuning, he remarks
that the instrument when played alone may be tuned
somewhat higher, the C being then tuned to D or El?.
He notices the " capo-tasto," which, although very
useful, was, he says, seldom applied.
He further states that the 1st, 2nd, and 3rd strings
are the same gauge as the 1st, 2nd, and 3rd strings on the violin, and
the remaining strings, silver spun on silk, are to be of proportionate sizes.
Bolton's instructions as to fingering, etc., are very similar to those
abeady given for the English Guitar ; but when chords are to be played,
the performer is directed to commence with the lowest note, and pass
1 This Tutor was most obligingly brought to the
notice of the writer when this chapter was in
type, and Levien's instructions had been fully
noticed, consequently only such additional infor-
mation as may interest the reader has been
printed.
= C E G C E G. Bolton states that small
Spanish Guitars can be tuned in a similar manner.
32
MUSICAL INSTRUMENTS
swiftly to the highest, in a manner similar to that practised on
the Harp.'
There are a considerable number of elementary pieces, etc., in the
two Tutors noticed, but in none of them does the music descend lower
than C. The 7 th and 8 th strings were probably only used for advanced
pieces or for accompaniments.
THE APOLLO LYRE, LYRE, AND FRENCH LYRE
The Apollo Lyre, an engraving of which appears upon Bolton's Tutor
and is here reproduced, is also mentioned by Busby, Light, and Ventura.
This is an English instrument which may occasion-
ally be met with. Carl Engel named it the " Lyre
Guitar." The writer, in a letter to Mvsical Opinion,
asked if any of the readers could state positively
that "Lyre Guitar" was in use before Carl Engel's
Catalogue appeared ; to which there was no reply.
If it cannot be proved that "Lyre Guitar" appeared
in print before the publication of Carl Engel's Cata-
logue, it may be concluded that he invented a name
for an instrument about which he had no information.
This instrument was tuned, like the English Guitar,
to C E G C E G. Large instruments formed like
the Apollo Lyre were made. These had stands and eleven strings, four
of which in the bass were off the finger-board. These instruments could
have been, and probably were, tuned precisely as the Harp-Lute-Guitar
to be hereafter noticed.^
An instrument called the Lyre is referred to by Light, Bolton, and
Ventura, but the writer is unable to state whether or not the Lyre and
Apollo Lyre were the same.
' When ]ilaying in the key of G the seventh
string should be tuned FJj!. There is a statement
in the Tutor that when playing in the key of F
the fourth string should be tuned to Bb. This
may refer to the tuning of that string upon
the Harp-Lute, the scale of which Bolton gives,
and the difference between that instrument and
the Harp-Guitar he explains. He may have
intended his Tutor to be used for the Harp- Lute,
as he refers to the short finger-board. In one
piece directions are given to fix the " pedal " for
producing F i{ as a passing accidental ; so it would
appear that Levien's instrument, to be hereafter
referred to, was in use.
- Light advertised in the Times, 27th January
1817, his improved Lyre of twelve strings.
APOLLO - LYRE
WITH ADDITIONAL STRINGS
THE HAllP-GUITAE 33
The French Lyre is an instrument very similar in form to the Apollo
Lyre. It usually has a stand. The writer has before him CaruUi's In-
structions for the Spanish Guitar or French Lyre, published by C. Wheat-
stone and Co. The title-page has to a large extent been re-engraved
apparently to allow " French Lyre " to be introduced. We find that at
the foot of page 1 the following has been added : " N.B. — The Editors of
this work has the honor to announce that having been permitted to take
a Model from an elegant French Lyre, made in Paris, for a family of
distinction in this Country. They are having manufactured an assort-
ment of them by an eminent Italian Maker lately Arrived from Paris.
The Scale of this Instrument is the same as the Spanish Guittar."
MUSIC
All music for the English Guitar can with the same ease be played
upon the Harp-Guitar or upon the Apollo Lyre.
Upon the last sheet of one of Bolton's works there is a statement that
a collection of music for the Guitar or Lyre, Op. 9, might be obtained
from Messrs. Goulding and Co. Also some music for the Lyre might
be had from Mr. Wornum, Wigmore Street.
A portion of a Collection of Airs, Marches, and Dances by Bolton was
evidently for the Lyre or Lute. He also produced a collection of Lessons,
Songs, Marches, and Dances for the Lyre or Harp-Lute.
Bolton also arranged some of the Songs and Airs in Don Giovanni,
together with a number of other melodies, for the Harp-Lute or Harp-
Guitar. These were published by C. Wheatstone.
F. Chabran prepared "An Elegant Selection of Songs, etc., adapted
for the Spanish or Harp-Lute-Guitar." These were published in two
books by C. Wheatstone and Co., Strand. A number of the pieces are
headed for the Harp-Guitar and Lyi'e.
Edward Light published an " Introduction to the art of Playing on
the Harp-Lute and Apollo Lyre."
E
34
MUSICAL IXSTEUMEXTS
Voice
Lute
DRINK TO ME ONLY, nccompt by T:Bolton,
V
-J-
Dnnk to me on — ly viih thine eyes And I will pledg-evith mme^
c=rr nrf r m^^^
Or leave ■ kis* KitVi in the Cop. And 111 not look for -w-ine - ~
■^ ^ J .
=^ u-^T
?
The thir»t that from the sonl doth rise.
Doth ask a drink diYine;
The lhir»t that from tlie sotil doth ri«e,
Doth ask a drink divine.
Bat might I of 3ovtf% Nectar snp,
I voald not change for thine «
The thirst that from the soul doth Tise>
Doth ask a drink divine.
( B*lton'
I sent thee late a Rosie wreath.
Not BO mnch hon'ring thee.
As giving it a hope that there,
It could not ^-ither'd he s
Btit thou thereon didst only breathe.
And sent it back to me.
Since nhenit looks, and smells,! swear.
Not of Itself bnt Thee .
THE HAEP-GUITAR
35
JULIA TO THE WOOD ROBIN.
(Ai«p«eJ by T. Bolton J
note* of love, "While my fond Heart responds to thee , O war _ - ble
still tnose notes of love . "While my fond
prt pn,^ r^iin mijTi j^i
Heart re — sponds to thee . O thee .
Rest thy soft Bosom on the spray.
Till chilly Autumn frowns seTere^
A Then charm me with thy parting lay.
And 1 -will ansver -with a tear.*;^'.
But soon as Spring enwreath'A with floors.
Come dancing o'er the new drest plain,
JB, Return and cheer thy natal bow'rs ,
My Robin with these notes again. y.
^ B«l Ion's In It,' ')
36
MUSICAL INSTKUMENTS
Maestoso -
The DUKE of YO RK's March
^inii^i^i fiijfrtfj^irr/'jl'-i^f f
p^-^^^\ fli!li^im.ri: ^ ^01 ^ ^ piff I
fr.rri^rrfi^;:rG^rM
^l-ljnJJ.ii^j^l^^'^Lf^!.g;f^-f
i<hii^^tr[f\]'fif\f''Uff:uUf\nrt
\J -9- ^
£
P
■^rf^grirff
imtfMirm^
^£
J-H • » ftfr
i
I I » M \ j Hi
i~p- <i/i
The Maid of Lodi
who sweet. ly sang^ to me whose
*^ 1 sing' tne iviaicl ot L,oai wno sweet. ly sang^ to me whose
i
■ f^r flp^i'^l^lt
<m
r 1 !■
^
i
)«y brows where never clouflv nor e er distent with glee she vahies not tne
f
m=ni
f^l^^t^^
S^^l.fJ". ' 3-
&
e=^i^
£S^
-*i
P • r
/ L
wealthy un -lets they're grent and good for she is stron;-: and healthy and
t^^^f^faj;j0^j^^i^^^"3-k^^
Harp Giiittar Ttator
THE HARP-GUITAE
37
i'l r ^
=^
w=ft
?
$
1 r
^
XC
IZ
i^
when her Days-works over around a chearful fire She sings or rests con
^jn ii-^\}i^m
^ rp I ff^
• \*
* 4-
^
P~W^.
P 1 r P
^g-PT r F
*
^1^1;.
^
tz^
tented what more can Man de . sire let those who sqandar millions re _
view her happy lot They find their proud Pavillions far in _ fe - rior to her
UiOoJ\\r^ii'\\\^i I'^ij.iiJ ii^
Between the Po and Farm *
Some Villains seiz'd my Coach
And dragg'd me to a Cavern
Most dreadfiil to approach
By which the Maid of Lodi
Came trotting from the fair
She paas'd to hear my wailings
And see me tear my hair.
Among- the mild Madonas
Her features yoi: may find
But not the fain'd Correggios
Could ever paint her mind
Then to her Market-basket
She tied her Poney's rein
I thus by female courage
Was dragg'd to life again
She led me to her dwelling
She chearVl my heart with Wine
And then she deck'd a table
At which the Gods might dine.
Then sing the Maid of Lodi
Who sweetly sang to me
And when this Maid is married
Still happier may she be.
Harp Guitar Tutor
38
MUSICAL INSTEUME^•TS
Andante
Hope told a flattring tale
HoPE,toldaflatt'rihK tale ftat joyM-oa'dsoon re
tng^
rTnfif F f nrr^iJ, r-l i
^
-^-^
*^. turn Ah! nonj;ht my sig^s a . . vail for Love is doomd to mourn
Ah!
^jyj'ij-j^tTTjT^i^^ijjVf.M-t^^
r r "^ ^ i~r ' 1 1 D'Tt r r c
i^r r r
:3=3r
wheres the flatt rer gone from
from me for e . ver
flown for Love is dooin'd to monrn An noj.g^t my sighs b . . vail for
^-^M^r..r^f-ricj';,i;i^r,rt.i'^nr.iVi-^
oer and Lift
can charm no more can charm no more
*^ ^"^ al Sef;Tio
Hnrp Giiitfar Tutor
THE HAEP-GUITAE
39
COPENHAGEN "VVALTZ. ,. „ ,, ^ „„,,„„
Var." by l.DOlton.
Cre»
Var:I.
—9 — = — 1
!H^
f=M3
_-
pi
•-
1 — irf-n
ffi
rfn
•-.
■ ^ P
- * s-
»-]
MV
%=H
W^
?
k^
a
LI
B
dErPriJ
^
r^H^-^i^
^
3
1
ttfe^:4=a riH Id J * I [-ii- ria * \f\^ * L^m ^ ng i/ ''lata
j; sj J' fjfjJ-riEj J' fj^mfs^^tfigf JCi',;SjjTf:ftTttr
/' /
("Bolton'j Inji,')
40
MUSICAL INSTRUMENTS
A. favorite Air with Variations
*J Andante ^" '
Andante
fWdVfrii(i4'yidiV^/;'W,'-^^di'i/Ajrirt^[
Fti''cfi'^f%'WVi
#-» — p
^^p
I art Jib 1 "•Tempo
t5 ^r,.!, - #. .«
lijWVVytrrcr/^W^-^-^
^ ##i,^/r^D'i/fr^£f;f fjfri|Hi^^
j I jyi;,'i»i'^/jlWy//j\Wi^fig II
Harp Guitar Tutor
THE GUITARE-HARPE
MoRDAUNT Levien of London, as before stated, took out a patent in
France in 1825 for an improved instrument which he called the Guitare-
Harpe.' This instrument, which is of the same form as Light's Harp-
Guitar, difters from the latter in having only seven strings and having at
the back of the neck three brass stops, for which Levien probably obtained
a patent. These stops, which, when pressed by the thumb, act as nuts,
were called by the inventor pedals, and will be hereafter referred to.
The following are the measurements of one of Levien's Guitare-
Harpes "' : 27|- inches from nut to end, 20 inches from nut to bridge,
twelve frets, the lowest being 9 inches from the bridge ; the greatest
width of the sounding-board, 12|^ inches. For this instrument, which is
much more frequently met with than Light's, Levien prepared a Tutor,
which was published at Paris,^ from which the following has been
extracted : —
1st Example.
i
7"
C
+
The seven open strings.
3"-
E
41*
G
c
1"
E £_
n II II II II " II B
4
2nd Example.
3rd Example.
> 1q an illustrated catalogue of Musical Instru-
ments by J. KenJrick Pyne, No. [i2A, the name
Lute-Guitar is given to a specimen. Dr. Pyne
states that he purchased a MS. Instruction Book
along with the instrument, on which that title
appeared, and he, supposing it to be correct,
inserted it in the catalogue.
'^ The property of ilr. J. G. Morley.
* Mr. H. Journet, of 43 Tottenham Court
Road, London, has most obligingly allowed the
writer the use of his copy of this rare work.
42
MUSICAL INSTRUMENTS
Scale,
with the denomination of the notes and their fingering.
I" Slrine
.IL 1 J _^
G
gH, ^ ^\k grd gnd
CD EFGAB CD EF cA
B C
D E
F C
ijM,
Left Hand. q
Right Hand. +
O 2
4 b 2 b I U 2"
+ f +++ + +» I 223
3 3 5
3 S 3 3
O. the open strings ; + , the thumb ; 1, the first finger ; 2, the second finger; 3, the third finger j
4, the fourth finger.
Scale of two octaves in C Major, rising and descending.
^rff,ffi
Finger- Board of the Guitare-Harpe.
10 L " ^ 1*
1st
2nd
3id
4th
5th
6th
7 th
From this diagram it appears that the 7th string is only used as an
open string. The writer has carefully examined a quantity of music,
and in no case did A or B appear as bass notes.
method of tuning the guitare-harpe
The first three strings are tuned by thirds, and the others by their
lower octaves. The surest way for beginners is to tune the third string C
by another instrument, then the finger is placed above its fourth fret,
which produces E ; the second string is tuned in unison, and from the
THE GUITAEE-HAKPE
43
third fret of this string the first is tuned in unison with it ; the other
strings are tuned to the octave below — that is to say, the fourth is tuned
from the first string, the fifth from the second, the sixth from the third,
and the seventh from the fourth, an octave lower.
From the representation of the finger-board, the directions for timing
that have just been given, and the music for the Guitare-Harpe and Piano,
it would appear that Levien's instrument should be tuned to the written
notes.'
Scale of C Major, rising and descending, with the
principal Chords.
#rtffg^«^Tc;ii:r;%:r:rtC'icr:rtr^^
±
m
f
Prelude No. 1, for exercising the right hand.
^^^^^f^^^^^^^^^
gE
Pedal sign
The pedals of brass — which are placed at the back of the neck or
finger-board of the instrument, viz. : the 1st under the fourth string, for
giving the A ; the 2nd under the fifth string, for giving the F ; and the
' Later on the reader will also find that those
who improved and wrote for the Harpe-Lute did
not follow Light's tuning of that iustrument.
44 MUSICAL INSTEUMENTS
3rd under the sixth string, for giving D — are pressed by the thumb of
the left hand during certain passages of the music, which otherwise would
necessitate much crossing of the fingers.'
ABRIDGMENT OF THE RULE OF TRANSPOSITION
When an air does not suit the voice in the key in which it is written,
but suits perfectly in another key, or a piece of music is more difficult to
execute in one key than in another, it is necessary to transpose the music.
Supposing an air in E flat is too difficult, to transpose it into the key
of C (which is the easiest key for the instrument) each note must be
lowered a third, and the Capo-testo must be fixed on the third space ; it
will then be played in the original key of E flat, as if there had been
no transposition. In order to transpose from A to F, each note will be a
third lower, and, having fixed the Capo-testo on the fourth space, it can
then be played in the original key of A. But if the transposition of this
key a third lower is too low for the instrument, it will be necessary to
transpose it to F, a sixth above, and, having fixed the Capo-testo on the
fourth space, it can then be played in the key of A, an octave higher. If,
however, some of these transpositions are too high or too low, the
Capo-testo can be placed higher or lower to suit the voice.
Before fixing the Capo-testo it is necessary to lower the seventh
string half a tone.
GENERAL RULE FOR ACCOMPANIMENT
The first note of the key or key-note should be accompanied by the
third and by the fifth.
The second, or sub-mediant, by the minor third, the perfect fourth,
and the major sixth.
The third, or mediant, by the third and the sixth.
The fourth, or sub-dominant, by the third and the fifth ; but when it
is found preceded by the fifth note of the key, it is accompanied by the
second, major fourth, and the sixth.
The fifth, or dominant, by the fourth and the sixth, or by the major
third and the fifth.
The sixth, by the third and the sixth.
I Of the tweiity-thiee airs in the Tutor only eight advanced jiieces examined are pedal marks
one has the ptilal luurUs, ami in none of the given.
THE GUITAEE-HARPE
45
The seventh above is called the leading note, and it is accompanied
with the third, the minor fifth, and the sixth. In descending, it is simply
called the seventh, and it is accompanied by the third and the sixth.
It should be observed that the third on the first note of the key ought
to be major in major keys and minor in minor keys ; thus all the inter-
vals which are not specified are always relative to their principal note.
Harmonic Scales for Accompaniments.
These two scales in C major and A minor will serve as models for all others, either major or minor.
Air with various Accompaniments.
_« «_
46 MUSICAL INSTRUMENTS
In conclusion, it may be mentioned that in the music for the instru-
ment the writer has examined, the signs indicating harmonic sounds
only occur when the notes are open.
MUSIC
The following by Mordaunt Levieu appear in the Catalogue of Music
for the Guitare-Harpe : —
M6thode pour Guitare-Harpe, Parts T. and II.
Solftge ou Methode de Chant, avec accompagnement de Guitare-Harpe.
Recueil de Valses.
La Chasse.
Deux airs varies (Aussitot que la lumiere) et (Nel cor piii iion mi .sento).
Senate.
Theme vari6.
Kobin Adair (Air Eoossais) vari6.
Fantaisie.
Six contredanses suivies de la Valse et du Choeur de Robin des bois,
Kelvingrove (Air Eoossais).
Fantaisie sur la Marche favorite de Mose in Egitto.
Divertimento.
Six divertissements.
Six favourite English songs.
Recueil d'airs Suisses.
Recueil d'airs Ecossais.
Recueil de douze Morceaux pour une ou deux Guitare-Harpes.
Variations idem.
Air Tyrolien vari6 idem.
Air Portugais vari(^ idem.
Divertissement pour Guitare-Harpe, et Piano.
Fantaisie pour Guitare-Harpe, et Piano, Tiolon, ou Flute.
Sonate pour Guitare-Harpe et Violon.
The following are by Bayard : —
Variations sur la Viennoise.
Deux Themes varies idem (Fieuve du tage) (Et un air favoride Steibelt).
THE GUITARE-HAKPE
Andantinfi
NEL COK PIU NON MI SENTO.
i-.i-i
lA^ir.
-,|rVi?rrrTr^^jjJii5:JrTr^|-^^
iVVa
is^-,fp|ifPifPi;^ ,rM^/?^^^E^
r
48
MUSICAL INSTEUMENTS
NEL COR Pit NON MI SENTO— 2.
^
THE GUITARE-HARPE
49
NEL COR Pit NON MI SENTO— 3.
^■i^g^
j^^:m:jfirm^
WW^.r-'^V-r
(.!...■ |,»r m"."" nepvei
G
50
MUSICAL INSTEUMENTS
All'.' Mod?
I
SON AT K . ^^ '~j^^g
G U I T \ K E
1 J> .-4-^-?^g=
■fT* *=^
V "^r — r-
r
6-^ . » ^ 6-^A,
>l f.«*, f V f_^-,-£?J^g-:fe">^^-T
^S^^^^^fe.
THE GUITARE-HARPE
SONATE— 2.
51
5^-i», ^^*_*,*^,
52
MUSICAL INSTKUMENTS
SONATE— 3.
1. 1 I TAKK .
^=^^0h0^ftK?f--^rki^-.^ -J I f jjr I
,t, ■ rthiatOMW
HARP-LUTE- GUITAR.
THE HARP-LUTE-GUITAR
It must have been shortly after the invention of the Harp-Guitar that
it occurred to Edward Li^ht to attach a head somewhat similar to that
of the Theorbo or double-headed Lute to a body and neck resembling
those of his Hai'p-Guitar, and, by filling up the gaps between C and E
and E and G in the bass, provide the instrument with a complete
octave of open bass strings. This new instrument, one of the most
elegant of Light's inventions, he called the Harp-Lute-Guitar. On the
finger-board he placed seven strings, and from a separate nut three bass
strings. Of this ten-stringed instrument, a fine specimen is represented
in the illustration.^ An additional bass string G was afterwards added,
and when so far perfected, "Edward Light Inventor"^ published the
"Art of Playing" on the Harp-Lute- Guitar,^ a work so rare, that the
writer may be excused for reprinting not only the curiously worded
Introduction, but such other portions as appear desirable.
"a shokt account of the newly invented harp-lute-guitae " ^
"The Harp-Lute-Guitar, so call'd, from the structure of it, partaking
partly of the Harp, partly of the Lute, and partly of the Guitar. This
little Instrument is confessedly greatly superior to any other of it's
' The instrument is tbe property of the Messrs. which no proof has been produced cannot !ie
Glen, Edinburgh. The following are the measure- accepted when an Instruction Book giving the
raents : Extreme length, 3Si inches ; from the correct name of tbe instrument, " The Harp-Lute-
uut for the bass strings to lower end, 31| inches ; Guitar," is extant. An explanation of an obsolete
from the nut on the ttnger-board to the lower end, term, or a name for an obsolete musical instrument,
23J inches ; from the nut for the bass strings to when given without conclusive evidence, cannot
bridge, 25^ inches ; from the nut on the fingerboard be too severely condemned.
to bridge, 17i inches ; across the sounding-board ■• For the use of this interesting work, and also
at the widest part, 12 inches. for the use of the volume of Airs, etc., with
^ A tine specimen with eleven strings, "Light Pianoforte Accompaniments, the writer is indebted
Mr. Barry maker," is amongst the collection of to Mr. Glen, of Bank Street, Edinburgli. The
the Rev. F. W. Galpin. Instruction Book was prepared shortly after ISOO,
^ Carl Engel calls this instrument the " Harji during which year Sir Edward Hunter-Blair suc-
Theorbo," and the specimens in the South Reusing- ceeded to the Baronetcy, the tune which is known
ton Mu.seum are so labelled. A statement for by his name appearing amongst those in tbe book.
54
MUSICAL INSTRUMENTS
size and kind, the Inventor gives this short account, to shew wherein
it differs from, and particularly excells others. First, by containing a
greater number of Strings, which not only renders it more easy to play
on, but the Tones are also more perfect by having the more open
Notes ; secondly, what further militates in favor of the Harp Lute, is,
that being tun'd to Harp pitch, they charmingly unite with and accom-
pany the Voice, likewise afford a very pleasing accompaniment to the
Piano Forte and other Instruments, and thirdly that from the simple
construction of them and being strung with Harp Strings conduces to
produce the admir'd sound of real Harps, and are therby less liable
of going soon out of tune. Lastly, by way of observation, many
attempts have been made to introduce portable Instruments for Ladies
accommodation, such as the English Guitar, Spanish Guitar, Mandola,
Mandoline, and latterly the Lyre and Lute, the Inventor of the Harp
Lute disdaining to depreciate the merits of other Men's productions,
will therefore here decline making comparisons, leaving that to a well
inform'd Public who in their wisdom, are best entitled clearly to judge
of, and allow what degree of merit if any, may be found due to
' Light's.' "
Scale for the Harp -Lute -Guitar.
r D E F G
gA Bgr 2 £i
I
D E F
G A B c
D
iS
O-
E F
0 1
mm
i
i
f
#-1
+ 1
2 3 + 12^1
2 2
Manner of practicing* the Scale
1*. Octave ascending & descending. 24 Octave
jujiiiJiiiuJiJjJi»l[iai[y^
PreludfS in F and G are jjiven near tho end of the volume, also the (4aniut in F, the
])erfornier being directed to tunc the fourlli string to Bb. The Gamut in G is missing,
l)ut there can be little doubt that the F string should be tuned to FC to avoid the
difficulty of reaching to the seventh string.
THE HAEP-LUTE-GUITAE
55
METHOD OF TUNING THE HAEP-LUTE -GUITAR
" First, tune your third string to the pitch of E flat, being to the sound
of the tuning-fork given with it ; then proceed to tune all the other
strings according to the following example : — Note when you have hxed
the pitch note to the sound of the fork, press on the fourth fret of that
string, being the red or third string, and tune your second in unison to
it ; then press the second string on the third fret, and tune the first in
unison to it."
Ex:
3^ String.2^String.l^*String.'IVial .
T7 PiidT
^^
By Octaves downwards .
f^^M
Trial
M
i
25
r^
From the foregoing extracts it will be seen that the open strings of
the Harp-Lute-Guitar in the original key of C are fingered exactly
in the same manner as those of the Pedal Harp, the X indicating the
thumb, and the 1, 2, and 3 the first, second, and third fingers, with this
difference, that, as the longest strings are nearest to the performer, the
fingering is reversed. It may also be remarked that although the
Harp-Lute-Guitar is tuned one-sixth lower than the written notes when
played singly, when played in conjunction with the Pianoforte it is
tuned a tone lower, its pitch being then a seventh lower than its
notation indicates. Thus, in a volume of Songs, Airs, Marches, Rondos,
etc., by E. Light, for the Harp-Lute-Guitar, with accompaniments for
the Piano, when the accompaniment is in D, the music for the Harp-
Lute-Guitar is in C ; when the accompaniment is in G, the music for the
Harp-Lute-Guitar is in F ; and when the accompaniment is in A, the
music for the Harp-Lute-Guitar is in G. In the Introduction to the
Tutor it is stated that Harp strings are used for this instrument, and the
reference to the C or red string bears this out. With the knowledge
that the instrument is to be tuned a major sixth below the written notes,
56 MUSICAL INSTRUMENTS
and with the illustration of the finger-board, a possessor of one of these
instruments can with little difficulty provide it with the proper strings,
the C strings being, of course, red and the F string black or blue.'
On the instrument illustrated, the strings, which are certainly old,
are for the most part sUk and silver ; the following being the gauge
of each : —
1st. Gut, D, 2nd Octave.
2nd. Missing.
3rd. Silver, F, 3rd Octave.
4th. Silver, D, 3rd Octave.
5th. Silver, C, 3rd Octave.
6th. Silver, B, 3rd Octave.
7th. Silver, A, 3rd Octave.
8th. Silver, F, 3rd Octave.
9th. Silver, E, 4th Octave.
10th. Silver, D, 4th Octave.
The Harp-Lute-Guitar is held slantingly across the chest and is
supported by a ribbon attached to the head and to the button at the
lower end of the body.
MUSIC
In the Tutor before referred to there are, besides preludes and lessons,
some thirty-three airs, etc., arranged for the instrument ; and in the
volume of " Songs, Airs, Marches, Rondos, etc., adapted for the Harp-
Lute-Guitar, with an Accompaniment for the Pianoforte, by E. Light,"
there are, besides the Introduction, twenty pieces. The writer cannot
say what additional music Light published for this instrument. The
specimens reproduced have been selected from the two works referred to.
F. Chabran prepared " An Elegant Selection of Songs, Spanish
Boleros, etc., adapted for the Spanish or Harp-Lute-Guitar." These
were published in two books by C. Wheatstone and Co., 136 Strand.
Such pieces as were not intended for the Spanish Guitar are in the keys
of C and F.
' If coloured strings of the proper gauge ordinary clear or white strings. When dry, olivt
cannot be procured, a]iply red or black ink to oil should be rubbed over them.
FINGER-BOARD OF THE IfARF LUTE-GUITAR.
H
58
MUSICAL INSTRUMENTS
Practical Lessons .
Preludio 1.
On the Common Chord
fp-Mff^ijifi
i^&t^/ffi^:rafPi^^^
Preludio 4
f000^^^m
THE HAEP-LUTE-GUITAE
59
Prelude 9.
^^
^^^^^^^
^^rf^^^^
60
MUSICAL INSTEUMENTS
Lesson
r\'M'!^^^'^^^Ju'i^m
All? moderato
^
ffm^i^nn-im[rifjjffifj^
Wiill^^iiisl^^WWs^^
^mM^m dlr^i'r^ftg%^^p
^^^^^^ta^
^^^
^^^^^^^
^Ff^
THE HARP-LUTE-GUITAR
61
INTRODUCTION.
Tp^t^tf^f#t7~|Tr r r J I f f
cres
cres
Si
^
^^^^^
/ ffl'lU'l Mill
# ■ , I g-r4i
iUVinvint--
^
&^
#-f#
^^t/if\rr^t^T I fIJ fr rif J^'
^m
xi
.^^^^^^r^rurrrirj^
62
MUSICAL INSTRUMENTS
i
'] Cririf-Pf^
^
Allegi-etto
S
^
^
23
^
/ 'I ^r|r•t'^r^^
girii FP r^ I J^.pi^ I jf;^rirT
^E
^
^
Ptt
jf ^ r ri>r.Tr
^
^S
THE HAEP-LUTE-GUITAR
63
^^^m
L
^
^^^^a^^^
1 ^ ri i ^
fcca^
;
^^^^^^^^m
^
^
i)' J i ^ 1 1 ? F^
,,,..pr[Tir^r^iti'i^
^s
^
3
U
64
MUSICAL I N S T E U M E N T S
P
#
L
^
E
I
^=^
fe±
:2l:
^^jg'iJfrjffiiJ''ifiJ['iTW/ftDtp
s
f 11 fj fij r i=f=f^
ri
» ■ #
# 1 mv''i'\'\
g#p#
pjJSjjphffjJtfjPi^^p
'^■^•^i* a-
^^f
CT I q
THE HAEP-LUTE GUITAK
65
i
X
^^
" ' M — r^=~
if:
^^
m
p5
* w
* #
^
^
li I
m^ifiirilirnfff^
1 rrnrn*
I III" ^ I M ^ f ^f ^^Ffrj-r
r^^y'ig^i^ji
^^E
^
f^rNffirrif
^
66
MUSICAL INSTEUMENTS
Adagio
fjp^^nphv^wfrr
■f#-r
i
^te
^^^
^
Allegretto
^^^^^^^^g
MU'lPi'FtlF-^'
-/|_rL;irg^fif^jf|^4^
^^
HARP-LUTE.
WITH TWELVE S. TRINC
THE HARP-LUTE
Elegant as the Harp-Lute-Guitar undoubtedly is, Edward Light
surpassed it when he invented the Harp-Lute, which, when at its best,
is one of the finest of invented forms. It was, however, by no means
so at first, and it will be the writer's endeavour to describe the gradual
improvement of this interesting instrument until it received that ex-
ceptionally graceful form which makes it so attractive an object.
The Harp-Lute is a development of the Harp- Lute-Guitar. Like it,
it had eleven strings,^ tuned to the same notes and fingered in the
same manner. So far they are similar ; but, as already stated, the Harp-
Lute-Guitar, when used in conjunction with the Pianoforte, was tuned
a tone lower, its pitch being then a seventh lower than its notation
indicates, while that of the Harp-Lute was unaltered when played in
conjunction with that instrument.
These two instruments are singidarly unlike in form. The double
head of the Harp- Lute -Guitai', unsupported except on one side — a faulty
construction if more than ordinary tension was brought to bear — was
abandoned, and a harmonic curve with a scroll termination, resembhng
that which may be seen on the eighteenth-century French Harps, took
its place. To support this harmonic curve a very large and deep body
was required, to the upper portion of the left side of which we find a
pillar attached, which pillar supports the scroll end of the harmonic
curve, while the other end is supported by a neck, with finger-board
and frets springing from the right side of the upper portion of the
body. On the finger-board are seven strings, there being also four
open strings in the bass. Three of these open strmgs are provided
with stops, by which they can each be shortened so as to
produce a semitone in advance when a change of key is
required. These stops resemble those used for a similar purpose by
Cousineau on the French Pedal- Harp.
1 The -writer has seen two Harp-Lutes with eleven strings. One of these has Light's name upon it.
68 MUSICAL INSTEUMENTS
This is a fairly accurate description of one of Light's early instru-
ments, but as no patent was obtained for it, Light undoubtedly had
imitators,' and it is not unlikely some one of these may have improved
upon the original form, as a gradual development can be traced. First
we find the scroll head generally abandoned for a Corinthian capital,
an additional string to be tuned C added to the finger-board, the stops
alluded to are replaced by loop stops," the open notes in the bass
increased in number, and eventually the upper C string disappears,
and five, four, or three strings are then left on the finger-board, while
an additional finger - board with three strings ' is added to the
treble.
The Harp-Lute as it now appears is undoubtedly a most beautiful
instrument. G. Packer of Bath added two strings, A and B, to the bass,
which may be seen on an exceptionally fine instrument in the Donaldson
Museum.*
It was C. Wheatstone apparently who added tlie second finger-board,
which made the high C string on the large finger-board unnecessary.
He also added keys to the F, and sometimes to the G strings, and when
these were pressed by thumb, passing accidentals could be produced, or
the keys could be latched at pleasure ; and eventually, when only three
strings remained on the large finger-board, the B string was also
furnished with one of these keys. Light also made use of a key for the
F ^ string. Packer also used keys, and on the specimen before referred
' On the 30th December 1S1.">, when Light boaifl, the fourth being tuned B, a suggestion of
advertised his instrument in the Caledonian Mr. Dowues, who will be hereafter mentioned, to
Mercury, he cautioned the readers to " beware of facilitate the execution of some difEcuH passages
counterfeits offered at some music-shops." without descending to the lung finger-board for that
2 Dr. Busby in 1825, when describing it at this note (Parry's Tutor, second edition, note, p. 24).
stage, states it " b.as m its latest imjrroveineiU The writer has not seen one of these instruments,
twelve strings." Yet we find in Grove's Diction- ■" The sounding-board of this beautiful instru-
ary the following statement : " The Harp-Lute had ment has no sound-hole, probably to enable it to
originally twelve catgut strings." As before stated, withstand the tension of the additional strings,
they were made with eleven. The specimen illus- As it could not be removed from the case, the
trated is not by Light, but it has the same following measurements must not be accepted
number of strings upon the finger-board and .as strictly accurate : Extreme length .ibout Xi
arranged in the same manner as on one of Light's, inches, breadth of sounding-board about l.Si
but it has not got the thumb-key for shortening inches.
the F string, and is longer and less graceful. •' A good specimen in the South Kensington
Light's instrument is finely formed. Museum, No. (iTT), has only one key, and that for
3 Tuned C, E, G, an octave higher than those shortening the V string. GJ, which occurs in
on the large finger-board. Some instruments one of Light's duets, can be produced from the
were made with four strings on the small finger- finger-board.
HARP-LUTE,
WITH FOURTEEN STRINGS
THE HAEP-LUTE 69
to there are an unusual number.' Angelo Benedetto Ventura, a well-
known teacher who wrote for the instrument, invented an Imperial
Harp-Lute,^ and it is possible there were several other makers whose
names do not appear upon the instruments made by them.
Light is stated to have pubhshed an "Introduction to the Art of
Playing on the Harp-Lute and Apollo Lyre." ^ C. Wheatstone* published
an Instruction Book for his Regency Harp-Lute. This was the work
of John Parry,' and ran through apparently three editions, from which
much valuable information is to be obtained, and in which are excellent
Preludes in various keys by Mr. Downes, an accomplished writer for
the instrument.
Light's Harp-Lute, according to Dr. Busby, " though apparently in
the key of C, was tuned to the pitch of Eb, or a sixth lower than the
written notes : an accommodation provided in favour of the voice," and
this statement is verified by a volume by Light, in which are twelve
airs arranged as duets for the Harp-Lute and the Pianoforte. In these,
when the Harp- Lute music is in C, that for the Piano is in Eb. When
the Harp-Lute music is in G, that for the Piano is in Bb, and when
the Harp-Lute music is in F, that for the Piano is in Ab.
Those who care to consult Dr. Busby's long-forgotten volumes will
find that when mentioning this and a few other instruments he writes
solely about Light and his inventions : Light's imitators or improvers
are unnoticed. Again, if Grove's Dictionary is consulted. Busby's state-
ment as to the tuning of the Harp -Lute will be found without
qualification. So the inquirer who consults the latter work will
naturally be induced to believe all Harp-Lutes were so tuned; but
' As originally constructed this instrument had p. 247. The writer has endeavoured to trace a
kej-s to the B, G, and F strings, and loop stoiis to copy of this work, but without success,
all the other open strings. At a subsequent period * Dr. Busby mentions a person of the same
keys were .attached to the E, B, and A strings, name .as the inventor of the Acoucryptophone, an
the loop stops being retained. Enchanted Lyre, exhibited in London in 1822.
- Ti • 3-cti li. i -1 !•<■ ,1 • , , Concert Room Anecdotes, vol. i. p. 9.
- It is diincult to identify these instruments. - ,, , x^ , , . , , , . , „
4 tr„„„ I ). 1 IT- t ii, i . - "rhaps Bardd Alaw, the author of the Welsh
A narp- Lute by Ventura in the writer s possession ,, , ^ . , . , .
i,„ , , , . rrii , i ■ i_ Vi 1 ■ narper, about twenty books of instructions for
has twelve strings. The 1st is a short strint; ,■„ \ ■ ,
;n t ii , 1 i.1 1 , r, 1 1 .,, different instruments, and a vast quantity of
without a fanger-board, the 2nd, .Srd, and -tth are , . „, . , , .,
^r, fi,.> «„„„.. k 1 Ti 1 other music. Ihe writer has failed to hnd any
on tlie hnger-board. The remainder are open , ■ , , ,, ^ ,
of..:„„o „ii f 1 ■ 1 1 1 i. rni • piece of music for the Harp-Lute bv this com-
strings, all of which have loop stops. The instru- ■, ^ . ! '
„ . :„ ^c c s 7 11 7 i 1 poser ; but Downes certainly wrote for Wheat-
ment is of nne form and well decorated. , .
stone's instrument, .and c<mtributed to the late
3 British Musical Biography, Brown and Shatton, edition of the Instruction Book.
70 MUSICAL INSTRUMENTS
that is not so. This assertion can only be proved by reference to
music and books ; so, even if the following statements are found
tiresome, the reader must recollect that they are necessary. Ventura
composed or arranged airs, etc., for the Harp-Lute and for his Imperial
Harp-Lute, with accompaniments for the Pianoforte and Spanish
Guitar. In those that the writer has examined, the music for the
Harp-Lute, with one exception, is in the same key or keys as that
for the instruments which are to accompany it ; and in the solitary
exception, probably to simplify the fingering, the performer is directed
to time the Harp-Lute a tone higher, and so really play in the key
in which the music for the other instrument is written. Again, there
is in Parry's Instruction Book nothing whatever to lead any one to
suppose that he, Wheatstone for whom he wrote, or Downes, who
wrote for Wheatstone's instrument,^ accepted Light's system of tuning.
In fact, so far from doing so. Parry's directions are to " tune the 3rd
string to C, thus ^, and the 2nd and 1st to the E and G following" ;
further, it may be remarked that the range of two of the vocal pieces
in the second edition of his Tutor is from C to G, whereas if the
instrument was tuned a major sixth lower than the written notes, the
vocaUst would have to sing from E in the bass to B on the stave.
It is more than probable that Wheatstone tuned his Regency
Harp-Lute to the written notes, and that the performer sang the
music either as it was written or an octave lower, as found most
suitable for the voice.
As already shown, there is reason to believe that Wheatstone's
instrument was tuned to the written notes, but whether or not that
tuning was an octave lower is a question that can only be settled
by testing one of his instruments ; for, in the Instruction Book for it
there is a statement which is of value as a clue, viz., that the three
first strings, presumably those on the large finger-board, are to be of
the same thickness as the three first strings on the violin and the
others graduated downwards. Consequently an instrument with
such strings tested with the Piano would decide the matter.
• In Select Airs, etc., Book 2, prepared by Guitar. Tlie vocal music and accompauiments for
R. L. Downes for C. Wheatstone's Regency Harp- both the instruments are in each case in the same
Lute, there are four songs with separate accom- key.
paniiiienta for the Harp-Lute and fur the Spanish
HARP- LUTE
WITH SIXTEEN STRINGS
DONALDSON MUSEUM
THE HAEP-LUTE
71
Fortunately one of these instruments^ is at present passing through
the hands of Messrs. Wheatstone and Co., Conduit Street, representa-
tives of the firm formerly of the Strand, and with their permission the
writer has tested the instrument, and there appears to be every reason
to suppose that Wheatstone's Harp-Lute was tuned an octave lower
than the written notes, that is, the 3rd string on the large finger-board
should be tuned to ^.
The following are the dimensions and length of strings of a
fine specimen of Light's Harp- Lute : — Total length, 33 in., width,
13f in.
There are seven strings on the finger-board. The 1st string, C,
measures 13f in., and has seven frets ; the 2nd, 3rd, 4th and 5th
measure 14f in. ; the 6th and 7th measure 15f ; the 8th, to which there
is a thumb-key, measures 22|- ; the 9th 2B^ ; the 10th 24^; the 11th
25 ; the 12th 25^. The writer has not seen a Harp-Lute by Light with
a second finger-board ; it is possible his instrument was not made with
more than one.
As a guide to those who may wish to string one of these instru-
ments, the following are the measurements of the strings of Packer's
and Wheatstone's Harp-Lutes, and the gauge of such strings as have
been found suitable for Packer's, Wheatstone's, and other instruments : ^ —
Small finger-board —
Packer.
lOf in.
Large finger-board —
Packer.
18f in.
Wheatstone.
10| in.
Wheatstone.
17Ain.
For G gauge F 1st Oct.
ForE
ForC
ForG
ForE
For C
D 2nd Oct.
F 2nd Oct.
gauge A 2nd Oct.^
F 2nd Oct.
A 3rd Oct.
1 The instrument was made by T. Poole, and
has "Wheatstone inventor London" engraved
upon it. There is little difference between it and
others, with the additional finger-board the writer
has seen, except that it is flatter at the lower end
to which four gilt balls .ire attached, on which it
can be made to stand when desired. The measure-
ments are as follows: — E.xtreme length, 32| inches;
length of sounding-board, 15| inches ; from upper
end of sounding-board to bridge, 10^ inches ;
extreme width of sounding-board, 13| inches;
width of upper portion of sounding-board, 8 inches.
- If coloured strings for F and C cannot be
obtained, clear strings of the proper gauge can
be coloured by using black and red ink, and,
when dry, olive oil.
^ The 1st string on the violin gauges G 1st
Oct., but when used on the Harp-Lute the tone
is thin and poor.
72
MUSICAL INSTKUMENTS
Packer.
B/
22f in.
Ar
22f in.
G,
23f in.
F,
241 in.
E,
24| in.
D,
25| in.
c,
261 in.
B,
26| in.
A,
26| in.
G,
27 in.
OPEN STRINGS
Wheatstone.
2 If in. gauge F 3rd Oct.
21| in.
„ F 3rd Oct.
22^ in.
E 4th Oct.
23^ in.
E 4th Oct.
24f in.
D 4th Oct.
25-| in.
C 4th Oct. or D 4th Oct.
25^ in.
B 4th Oct. or C 4th Oct.
None.
„ B 4th Oct.
None.
A 4th Oct.
254 in.
Silk and Silver.
The pegs by which the strings on the large finger - board are
tuned are upon the Harp-Lute at a considerable distance from the
nuts, and unless the strings are wound round the pegs close to the
wood, and so properly strained over the nuts, the tone produced by
the strings may be more or less imperfect. To remedy this, Packer of
Bath placed above each nut on both
the large and small finger-boards,
ivory . knobs. Through holes in
these knobs the strings pass, and
are thereby drawn down above the
nuts. This excellent aiTangement
may not be jjossible on some instru-
ments, but a nut such as is shown
by the diagram the writer has con-
structed, and found equally eflica-
cious. This form of nut had better
be fastened to the upper portion
of the large finger-board by small screwnails. As may be seen, each
string as it passes the nut is grasped twice, with the result that a
pure tone is produced. The strings should be sufficiently raised by the
nut so as to prevent them from striking the finger-boards when pulled
with moderate force.
(\
l\ ^
r^^\)
~
M
■ When B ii on the finger-board, the string
ahould be A 3rd Oct.
- When A is on the finger-board the string
should be G 3rd Oct.
THE HARP-LUTE
73
t
Open Strings.
* #
Scale.
Strings on the Finger-boari
2nd
O 2
2^
,» -*
^
Strings on the small Finger-board.
^
MMIIi
m
^
X
G
3=*
3X12
F G A B
1 2
D E
2 3 3 3 3
F G A B C
CDEFGABCD
+ There are A and B strings upon some instruments.
* On some instruments the strings A and B are upon the finger-board.
On many of the instruments, with five or more strings on the
finger-board, a cavity may be seen between the fourth and fifth strings
and above the first fret. Into this cavity is inserted a stop, here
represented, which, when turned, presses the B string above the
first fret. When the stop is thus fixed, the string is BB ; but ^
when the stop is released, the string is Bb.* In Parry's second edition
there is a statement that this stop, which was very defective, had been
improved, and that it was the opinion of many professors that this
stop would be better omitted altogether, and when playing in any key
requiring Bb the string should be tuned to that note. As already
stated, a thumb-key was attached to the B string when it was removed
from the finger-board.
A REPRESENTATION OF THE 3 AND
5 STRINGS ON THE FINGER-BOARD.
N.B. — The strings on the short Finger-board are
fingered the same as the three first strings.
For an instrument with three strings on the finger-board, and
1 Busby's Concert Room Anecdotes. There is the instrument for holding the stop when not in
generally another cavity upon some portion of use.
74
MUSICAL INSTRUMENTS
stops and keys to the open bass strings, the following directions for the
tuning and arranging the stops and keys will be found sufficient : ' —
Fix the stops or keys for the B, A, and E strings, then tune
the instrument to the key of C, which is the original key, the strings
on the finger-board being tuned to C, E, and G, those on the small
finger-board, C, E, G an octave higher. The ^^^^^^^ i(j(j.jJj|
open strmgs are tuned in octaves downwards. ^\x. \^[^\i-'
To play in F release the B stop.^
Cadence
-jMlM
To play in Bb release the B and E stops. ^ Cadence ^^^^3^ t
•J
To play in Eb release the B, E, and A stops. Cadence ^VUJ (a fj (jt(; j
To return to the original key of C, fix the B, E, and A stops.
To play in G fix the F stop.
To play in D fix the F and C stops.*
To play in A fix the F, C, and G
stops and tune the lowest G to GJj;.*
To play in E fix the F, C, G, and D
stops and tune the lowest G to G^.^
Cadence
Cadence j'» j (j(j(ii|j||
Cadence
Cadence
pSUiiUd
The instrument can also be played in the keys of C, A, D, G,
and E minor.
' Early instruments will require to be treated
diflferently. For instance, supposing the instru-
ment to have five strings on the finger-hoard,
the fourth and fifth, B and A, will require to
be lowered to Bb and Ab when either note is
required and again raised to Bt] and AQ when
the instrument is to be used either in the key
of C or in any key in which sharps occur.
2 When playing one air in F, arranged by
T. Bolton, the performer is directed to tune the
low G string to A ; and we find Downes directing
it to be tuned to A or F as required.
' Parry's directions are to tune the lowest C to
Bb when necessary, but in the Prelude by Downes
both C and Bb occur. Downes must have written
for an instrument with sixteen strings, or have
intended the G string to be tuned BU.
■• Ventura lowered the C string to A. Downes
apparently did the same.
'' Ventura's directions are to lower the C string
one-third. Downes apparentlj' did the same.
" Ventura lowered the C string to A. Downes
occasionally tuned the G string to E and the G
string to A.
THE HAEP-LUTE
75
MANNER OF PLAYING UPON THE HARP-LUTE
" Place the instrument across the body with the neck incHned
upwards. The position is more easily preserved by having a ribband
fixed to both ends and slung over the left shoulder."
" The 3 first strings are generally played with the 1st, 2nd, and
3rd fingers, the 1st for the 3rd or C string, the 2nd for the 2nd or
E string, and the 3rd for the first or G string ; sometimes the 2nd
and 3rd are played with the 1st finger and the 1st string with the
2nd finger, and others are struck with the thumb."
" The fingers of the right hand must be held light over the strings
in an arched position, and the thumb against either of the bass strings
in a horizontal direction quite straight. The general situation for
striking the strings is near the Star or sound hole. To produce a
piano effect play nearer the finger-board with the fingers held in
rather a horizontal direction, and quite stiff"." '
The fingering of the bass or open strings of the Harp- Lute is precisely
the same as that of the Pedal-Harp, x indicating the thumb, and 1, 2, 3
the first, second, and third fingers ; but as the longest strings are nearest
to the performer, the fingering is reversed.
Chords should generally be played in arpeggio. The thumb and the
fingers grasp the strings, then by a sudden turn of the wrist the
thumb and the three fingers are released in succession.
(The Chromatic Scale.)
Tuned in the Key of C.
C String.
E String.
^
3
feti
G String.
rrr FT
7=^
D
E F G A B
0 12 3
Cl| C« Dll Dtl
G Open String;s
^ y 1,^ !>f |ii» q|»
0 12
Ell '''1 F8
0 12 12 3 4
g1} G« A|j A# bI] cl; ctt
i
:h
J2-*.
Ilfl ly
YVV^f
Lea
I Hand.
2 3 0 13
1 2
2 3
i
' Parry's Instruction Book.
76
MUSICAL INSTRUMENTS
Double Notes.
i j "j 'i
^Ltft Mndi O
O fi O 1
fe=*
M
jaJ aj 8
m
w
ii *v i* y xJ X* X
I 5 3 3 i 1
i 1 5 3 "3 1 I I
Ex.
byJ^s 3
I 3
S 3 2 2 I
Easy Preludes in some of the Keys.
" . .'■»-. ■.■.j;JjiQ%ir-'iJ^^-Ti'fi^j|-pJ
G.
A.B. E & F on.
*i.B.E. F & C on. Zpp-^^
A-ft E only on.
C. F a. B off. -W
^.>i ji jiijj fif n-iJ"J^r[^
E.C.
vri zi /j J j Jij J f ML^^i^^
=#^
-g
q
i
*
T
une t
he
low
est C.
lo
B^
Si
H#1^
5^3^ =1
#1
re
Z]
C
FS
b;
L-C5-J
1
^
^
^
^
t^
^
u-
J — ^;±±^
i^/i"
If the directions already given are followed, it is to be hoped any
possessor of one of these instruments, who wishes to do so, may be
able to string, tune, and play upon the instrument. The tone of the
THE HARP-LUTE
GRESI AND MARIO
THE HARP-LUTE 77
Harp-Lute will be found to resemble that of the Pedal-Harp,' and
for simple music or accompaniments, when accidentals are not
required in the bass, it must be excellent ; but even when the Harp-
Lute is furnished with movable keys, it may not be possible to use
them when the movement is rapid. Certainly few accidentals below
C occur in any of the advanced solo pieces the writer has examined.
Before concluding this notice, some reference should be made to
the reproduction of a long-forgotten photograph taken during the
palmy days of ItaUan Opera, when Grisi was still great, that prince
of tenors, Mario, in his prime, and II Trovatore the popular opera of
the day. The costumes are those worn by those great artists during
the first act of the opera, and Mario is supposed to be singing the
opening serenade, " Deserto Sulla Terra," and accompanying himself
upon a Harp-Lute.' The photograph is interesting as showing the
appreciation of an artist, who in stage costume, etc., was so much
in advance of his time, for the beautiful little instrument that has
been described ; but we, with our more exact knowledge, cannot but
be surprised to find a troubadour in a supposed fifteenth- century
costume playing upon an early nineteenth-century instrument before
a Victorian vUla ; but, when this photograph was taken, such
anachronisms passed unheeded, and the prettily conceived picture
was lithographed for the title-page of J. L. Hatton's well-known song,
" Come live with me and be my love," one of the few English songs
occasionally sung by Mario.
The writer thinks it desirable to notice here another of Edward Light's
inventions, the " Harp-Lyre." Dr. Busby states that it differs from the
Harp-Lute " only in the shape of the body, which is flat at the back
and somewhat similar to that of the Apollo Lyre." This instrument
is mentioned in the following curiously worded advertisement which
appeared in the Caledonian Mercury, 30th December 1815 : —
" Musical Cabinet for Portable Instruments, the most desirable
ever before oflfered to the public mind of superior judgment and taste,
viz., newly invented Harp-Lute and Harp-Lyre, which produce the
• Ventura asserted that his improved Harp- of this instrument is to be attributed principally to
Lute was " equal to the Harp." Light stated its resemblance in point of tone to the real Harp."
that his instrument had " the same sound and - The instrument is singularly like that by
effect as real harps" ; Parry, that " the celebrity Wheatstone already noticed.
78 MUSICAL INSTRUMENTS
same sound and eifect as the real Harp, although not more than one-
quarter of the size, or a tenth part of the expense. They also accom-
pany the voice, etc., as the Harp, are very elegant and graceful, and
incredibly soon learnt to play on. Invented by E. Light, Musical
Professor, sole Proprietor, 3 Foley Place, Cavendish Square, London,
where the above may be seen and heard, and can only be had."
These notices have enabled the writer to identify an instrument in
his possession, which is very similar to Light's Harp-Lute. It has seven
strings on the finger-board, and a thumb-key or stop to shorten the F
string. As it has a stand it must have been held upright upon the lap
of the performer. The back, as noticed by Busby, is flat, and the body
is more oval than that of the Harp-Lute.
LIGHTS HARP-LYRE
THE HAKP-LUTE 79
MUSIC
It is impossible to say what amount of music was written for the
Harp-Lute, but considering the number of these instruments manu-
factured by the various makers, it must have been considerable.
Besides the Instruction Book already mentioned, Light certainly
produced a number of volumes. In one of these, Book the First, No. 3,
Vol. II., there are six Divertimentos and Airs with variations, also shorter
pieces, composed and arranged by him. Another, No. 3, Duets for the
Harp-Lute and Pianoforte or Harp, has already been referred to.
R. L. Downes, a professor of music at Cheltenham and Bath, before
referred to, prepared selected airs and lessons as practical exercises, with
four favourite Venetian songs arranged for the Regency Harp-Lute, to
show the brilliant effect of additional strings, and the application of
keys and other improvements, in the keys of F, C, G, D, and A. Also,
Op. 4, twelve favourite songs adapted to popular national airs with an
accompaniment for the Harp-Lute, in the keys of F, G, C, and D. Three
of these songs are Irish Melodies which Moore's words have made
familiar, but Moore's words being copyright, others had to be supplied.
The accompaniments are all full. Also a 2nd Book of "Select Airs with
preludes as Practical Lessons and 4 Favourite Italian Songs" in the
keys of G, C, D, F, Etl. These were published by C. Wheatstone and Co.
Angelo Benedetto Ventura, who taught the instrument to the
Princess Charlotte of Wales, as ah-eady stated invented the Imperial
Harp-Lute. He published twelve Italian, French, and English
airettes arranged with an accompaniment for the Harp-Lute, in the
keys of F, C, G, and A. The accompaniments are very full. On the
title-page of these airs the following appears : — " N.B. — The above songs
are adapted for his last new improved Harp-Lute, superior to any
other yet invented, as it is equal to the Harp."
He also published the following " Duetto con varidazioni for the
Harp-Lute and Spanish Guitar," in the keys of C and G. Thema with
six variations for the Imperial Harp-Lute, with an accompaniment for
the Pianoforte or Spanish Guitar, in the key of C. A new and elegant
collection of waltzes, minuets, and marches for the Imperial Harp-Lute,
with an accompaniment for the Spanish Guitar, in the keys of C and G.
80 MUSICAL INSTEUME NTS
Besides the before-mentioned, C. Wheatstone apparently published
twelve Quadrilles for two Harp-Lutes, or for a Flute with a Lute
accompaniment ; also a selection of favourite Airs arranged for the
Harp-Lute in parts. ^
Thomas Bolton, before referred to, probably the musician of the
same name who contributed to Parry's Tutor, published a collection
of Lessons, Songs, Marches, and Dances for the Harp-Lute or Lyre.
These were selected from his own musical publications or adapted by
him, also three Italian Songs with accompaniments.
Bolton also arranged some of the Songs and Airs in Don Giovanni,
together with a number of other melodies for the Harp-Lute or
Harp- Guitar. These were published by C. Wheatstone.
Amongst "a collection of Airs, Marches, Dances," etc., by Bolton,
some for the Lute are apparently intended for the Harp - Lute.
Probably other teachers whose names are now forgotten wrote for the
instrument ; if so, and such compositions are discovered amongst collec-
tions of old music, it is to be hoped they will be preserved, or forwarded
to the British Museum for preservation.
Amongst a collection of music in MS. obligingly placed at the dis-
posal of the writer by Dr. Kendrick Pyne of Manchester are several
advanced pieces for the Harp-Lute, some by R. L. Downes, T. Light,
R. Light, and others.
' The writer is indebted to the Messrs. Songs, by S. J. A. Fitzgerald, he will learn how
Wheatstone for No. 1 of this series. In it Bishop's well-known melody came to be so
"Home Sweet Home" appears as a "Sicilian named.
Air." IE the reader turns to Stories of Famous
H A R P - L U T E 80a
ADDENDA
The writer has recently had the advantage of examining a vokime of
music for the Harp-Lute, amongst which there is " New and Complete
Instructions," by Edward Light, from which the following has been
extracted : —
THE MANNER OF HOLDING THE HARP-LUTE
"Place it in the lap, nearly perpendicular, rather inclining a little backwards, so that
the performer can just have a side-view of the strings ; the left arm a little raised and
held in a semicircular form, the point of the thumb placed in the groove or hollow at the
back of the neck, the forefinger a little above the nut or ledge of Ivor}', at the top of
the finger-board, with all the fingers rather curved and hanging easy and close as possible
to the strings, so as not quite to touch them ; the right arm to be kept dow n, and pressed
gently against the side of the Listrument, which serves not only to keep it steady, but
likewise aftords a more commanding action of the fingers. The thumb of the right hand
should generally be kept straight upwards, the fingers a little bent, and regularly inclined
downwards ; the fullest and best tone is produced by touching the strings about midway
between the Bridge and the finger-board; but in order to produce the difierent effects of
Forte and Piano, we play higlier or lower at pleasure." " Observe in passing the thumb ;
let it always be above the fingers, never under."
This Tutor is a late edition, as the thumb-key for the G-string is
noticed. This key is not found on Light's early instruments. As already
stated, Light tuned his instrument one-sixth lower than the written
notes. He evidently treated it not as a Guitar, but as a Harp. His
instruction with regard to the "slur" is, when two notes in the treble
are to be produced from the same string, one from a fret and the other
an open note, the latter is to be struck hrst, and without pulling the
string a second time the finger is to be pressed above the fret. This is
the "slur" ascending. For the "slur" descending, pull the string from
the fret and then draw off the finger and the open note will sound. The
same when three notes are to be slurred. Light says this method of
fingering is excellent in rapid passages. In the Tutor, besides exercises,
etc., in C, there is music in A minor, F major, D minor, G major, and
80&
MUSICAL INSTRUMENTS
E minor, and it appears that he produced harmonic sounds not only from
open strings, but from strings pulled from the frets. The following also
appears : —
" As many imperfect imitations of this admired little instrument have crept abroad
and are imposed upon ladies as Edward Light's real Harp-Liite, the inventor thinks it
here a duty incumbent on him to declare, that all instruments manufactured for him, and
by his order, are numbered, and also have his name and address upon them, and that no
others are real Harp-Lutes."
At the end of the Tutor there is a list of music already published
for the Harp-Lute by Light. The following have not been noticed in
the previous list of music :—
Vol. I.
No. 1. The Tutor, .......
No. 2. A Collection of Songs, Airs, etc., for the Lute, with an accom-
paniment for the Piano-Forte or Harp, . . .4s.
No. 4. Collection of Songs with accompaniments, . . .4s.
No. 5. Collection of Hymns and Psalms,' etc., . . . .4s.
No. 6. Collection of Songs with accompaniments, . . .4s.
Vol. II.
No,
No,
L
Collection of Songs with accompaniments,
Collection of Italian Canzonets, etc., for the Piano-Forte,
accompaniments for the Harp-Lute,
Collection of Scotch and Irish Melodies,
Do. do. do., 2nd set,
No. 6. Italian, French, and English Ariettcs,
Preludes and Recreations,
No.
No.
with
4s.
4s.
4s.
4s.
4s
6s.
Vol. m.
No. 1. Favorite Airs with var'", etc., composed and adapted for the
Harp-Lute by Thomas Light of Bath. To be had at
Edward Light's place of business, 8 Foley Place.
ERRATA
P. 68, 14th line, delete " which " and insert " as did also J. Royland ? of Sheffield, as."
19th line, after " by " insert "the."
2.3rd line, after "the" insert "Donaldson Museum."
' This part is for the Harp-Lute and Lyre, which instrument Light claims to have invented.
Probably the Harp-Lyre already noticed.
THE HAEP-LUTE
81
MY HEART AND LUTE.
WORDS BY THOMAS MOORE. MELODY BY SIR HENRY BISHOP.
TUNE THE LOW CS STKIXG TO Al
IN MODERATE TIME.
m '1 3 r
*-
►_
^
-, - rJ* c
0
\¥^^
r
F=?ffi
L-—
T ^l:^^
0
§
t:^
\^IM ^
\,^
IpCP^
4«^
^^
W
^^^^^^^^^^
^^^^^^
^
]t=:!t
I give thee all — I can no more -Tho' poor the off' - nng be ;
Tho' Love and Song may fail, a - las ! To keep Life's clouds a ■ way,
My heart and luto are
At least 'twill make them
xh n -^^=!=^-^f~1~t~ \ g ^=i- i \ \ \ i I ^
-3'' 'j; h h M ; r r r i; r r r i^LLf i ; r r ^N
^"|^^Nl^^l,||J ii^rj j^i.r I
all the store That I can bring to thee.
light - er pass, Or guild thorn if they stay.
A lute, whose gen - tie song re - veals The
If e - ver Care bis dis - cord flings O'er
's lU^iiil i>U ^ijL-bi,^^
^^^^^^
And, bet - ter far, a heart that feels Much more than lute could
Let love but gen - tly touch the strings, 'Twill all be sweet a -
$
^
^s*:^
i=i
y I give thee all— I can no more— Tho' poor the ofT' - ring be ; My
^1 1^ I J ^^1 M ^M;^i^^^
V
I
fc
^^^^^^
^-^ ad till. ls( tim/!. 2nd time.
m
irrS
heart and lute are all the store That I can bring to thee. thee.
< -nv I \ D. C.
^^^^^
m^m
m.f />-
T
m
82
MUSICAL INSTEUMENTS
PRELUDES BY R. L. DOWNES.
THE HARP-LUTE
PRELUDES BY R. L. DOWNES.
83
Prelude shewing the effect of the Add! Strinp.
S912:
^^^^^P-^B^i^
S4
10
HARP
Lute.
Piano
Forte,
or
HARP
MUSICAL INSTRUMENTS
DUET BY EDWARD LIGHT.
Se potesse un Suono egual.
Andaniino.
Mozart.
Andantino. pri ^fl .^_
^^
»— ►
fA'^/yA'i'MM\^
^ I ii J ij J 1 .1^
aBTOWuBWoBW
^
-O-
1^1 |1
-«-
N9 3.
THE HAEP-LUTE
85
DUET BY EDWARD LIGHT.
n
P
55^:
^.-^SU^
for nH^^
m
J
Grt%
J 1 1' L'l
-©-
s
'v'TJ'rp r
^^
^ -/%
2— r-
I
■^
^
jar I
5
^
Ji m.
"SS.
m
9—P
^6re» ' >? 1^ dim /^
i
^
i
^
for
E^i
If f F f n ai
86
MUSICAL INSTKUMENTS
DIVERTIMENTO.
BT EDWABD UOHT.
PAS DB TR0I3 ENTBODUCED LN ACHILLE ET DEIIXAMia
MAESTOSO. X. (i
§';^i\iiiiidim^m
r-
P
,aff\j^^\ijii^0
^
-t-^
t=«
i^^.>ifm^,\^,,^^A^h,^u^i^^mn
[^[^[LJ-[jjl^D^-^^!^dJ'^^l^
AIXEOBETTO.
^^ia;'',.^'i^^tlrii.i^i^^.?^'ir,jr^ii.ii
-Kr.Sl
Ju^j^gii^jn^'^rrrriL^'fj^j ^ ^i
!f j/^ffl[^r[Iiii^^^^^grf^%^
THE HARP-LUTE
87
DIVERTIMENTO.
BY EDWAKD UOHT.
TEMPO Dl MINDETTO.
1^.4:
^z4
jrI]i|iJi-.iirftjmr^%WiM^^iM
iS
Q^jWri^u'uiE'ir iiiSiuLp'
j.f,^''uifnij/^i^rfirjjifij J 11
Ta/r.Szmfi:
^iiif[c[r^;fjiLajj^'%i[tLfO^'dli'^i^
■.6{,iijT]/irnrpifp.fp
!^t
^. T^
jCTCTigfTi^
^jj'Lti'UJiL^^
* — r
^'t^^^riQj-Lji6jL;i[j^iJ^,^ifIl'iT^-^
88
MUSICAL INSTRUMENTS
DIVEETIMENTO.
BT ESWAILD UOHT.
A L* POLLACJl
y^.7 .
1 ., ii r r^ r r r I r n r r f I r n r r
d^;T^.i7 J^^^f^T^:^ iilEi II-
THE HAEP-LUTE
89
KOBIN ADAIR.
THE INTRODUCTION AND SYMPHONY BY JOHN PARRY. THE ACCOMPANIMENT BY ANQELO B. VENTURA.
^^^^^^^
m
*
^ftfe^#A^^tfF^£?=%f
idi=F=mi=^
^
m
Wbnt's this dull Town to me, Ro bin's not near? What waa't I wiab'd to see,
m^^m
^i^7^
^
What made th' Assembly shine 1
Kobin Adair.
What made the Ball so final
Robin Adair.
What, when the Play was o'er,
What made my heart so soro t
Oh! it was parting with
Bobin Adair.
But, tho' thoa'rt cold to me,
Kobin Adair.
I '11 still be true to theo,
Robia Adair.
For him I lov'd bo well
Still in my heart shall dwell;
Oh .' I shall ne'er forget
Bobin Adair.
M
90
MUSICAL INSTEUMENTS
All mVS DRR.fl J E //!" cf M A .V . arrakged by r. l. downes.
Andantino
^£^^=ff;ff^ I ii j I j j I j-i^
it5#ife^^gff
THE HAEP-LUTE
91
AH'.VOUS DIRAI-JE, MAMAN 1
92
MUSICAL INSTEUMENTS
DESERTO SULLA TERRA. IL TROVATORE. VERDI.
THE ACCOMPANIMENT CAN BK PLAYED UPON A HARP LDTE IF THE F STRING HAS A MOVEABLE KEY.
TUNK TIIK B STRING TO u!?, AND THE L.\ST STRING TO A.
De - - »9r - to Bul
Ma s'oi quel cor
la ^er
pos - sie
if^"t "t't ' I't't
de
col
bel
no de
- - lo
DO m
ca - sU
3±
^^^
0 WHEN THB B SIRING IS OFF TBI nKQER-BOARD, IN PLACE OF D PLAY K.
AH I CHE LA MORTE. IL TKOVATORK VERUI.
WHEN THR INSTRnMKNT HAS FOURTEKN STRINGS TUNK TlIK LAST STIIINO TO A.
AND IN PLACE OF THE LOW B PLAY D.@
(5)T11E ACCOMPANIMENT MAY BE PLAVED IN THE KEY OF 0, WHEN THE B STRING 18 IIPON
THE FINOER-BOABD, THE LAST STRINO BEING TCNED TO B.
THE HAEP-LUTE
93
^
^
P
- tar ■ da ncl vC-
mor cbe po ei in
n fH tn fnifninfCi ..ci
m
^
'n-^i'h^
chi de - si
ti scor - Jar,
a chi lie si - - a mor-
non ti scor - dur di
ad - dio Leo - no - - ra, ad di
raad - dio, * Leo-no-ra ad - di - o ad di
j^' J n ift-jjg^.o-+^^n J n-^
Isr TlilE. 'C 2^0 TIME.
■s
\/ \^ I ^ ^
Scon - to cul san
gue
i^ J n .11: J n ;n J n.^^
(^
^
?^^
1^
#» »
I'a ■ mor che po - - si in te !
^r^ ^
Non ti scor-dar
con ti scoT-dar di
fy ]■ n J- n ^xxjO. |j> rij^n jO^^
rT^T=^
^
m
f
^
me, ad ■ dio Leo - no - ra, ad ■ di
^H-J-jO :|| ^^
Leo - no - ra ad - - di
1 f ,f
^
■'/^\' I"
B
94
MUSICAL I N S T K U M E X T S
Z, I E B K R c4V GVI^T: fC E
AREAKGED BV R. L DOWNES.
a la NV'allz.
Moderato
^^^M%>i?^'Ui'Lffi'k}'7.i'i"
Var: 3.
m
^^^^^^^^ff^
THE HAEP-LUTE
95
LIEBE AUGUSTINE.
P
f^-*^
^
-V-TT^-T-^
^n« N r " s, ."^^ I J -|t-g I r'' (i^^ f'^' I fi""> .""v ^"^v j
J"
96
MUSICAL INSTRUMENTS
DIVERTIMENTO.
To thow the Compass and Power of llu IMPROVD LUTE.
IIV .IDHN rAUllV.
MODERATO.
^Wr'^irrfpi
alto —
d- a
m
~5~zi:
^
Fjr-a-Tf "f f H^
t
f^=^
JL^ ft
m
a
» #
loco
Tr
1 I n gbi.
IZZZSi
T
XT
in
in
rrrm^m-^
€ — c^—g
m
m
m^^sB^FJ^
IC
^^
^^^^^
^g^^gte^^i^ji^ig
1
RITISH LUTE-HARP N»84
AFTERWARDS KNOWN AS
DITAL - HARP
THE BRITISH-LUTE-HAEP
AFTERWARDS KNOWN AS THE DITAL-HARP
Edward Light, the inventor of this instrument, by fii'st naming it
the British-Lute- Harp, and afterwards, without explanation or excuse,
changing that name to Dital-Harp, if he did not confuse those of
his own time, has left a puzzle to posterity. So it may perhaps be
better to state plainly and at once that the term Dital-Harp can be
applied to a British-Lute- Hai'p with either seventeen or eighteen strings,
but the term British-Lute-Harp cannot be applied to a Dital-Harp which
has nineteen strings.
Light, who had for a considerable time been engaged in endeavouring
to perfect his Harp-Lute, obtained a patent upon the 18th June 1816
for certain mechanisms which he proposed to apply to that instrument.
By these mechanisms the strings were to be lengthened or shortened,
so as to enable the performer to produce a semitone lower or in
advance on any one at pleasure. Four distinct mechanisms were
patented : three of these were intended to draw the strings from
nuts to frets, the fourth to raise the string above the nut, so that
the string, when raised, would sound a semitone lower than when
on the nut.
The proposed instrument in form somewhat resembled Light's Harp-
Lute, which perhaps had not arrived at its latest development, and the
additional C string in the treble had not then been placed upon the finger-
board. Light filled up the gap which occurs on the Harp-Lute in the bass
by adding A and B strings. He also added two additional bass strings
E and F. He now had an instrument ranging from E to C without
a gap. The C, E, and G strings, as on the Harp-Lute, were on a
finger-board, but it is clear his intention was to tune his new instrument,
not like the Harp-Lute in C, but as the Single Action Harp in Eb.
So, to overcome the difficulty presented by the EH on the finger-
N
98 MUSICAL INSTEUMENTS
board, he attached above the nut from which that string was stretched
one of the small mechanisms for which he obtained a patent/ which,
when pressed, raised the E string off the nut, the string being then El'.
The mechanisms for which he obtained the patent Light called
Ditals or Thumb-keys, and to every string, with the exception of C
and G in tlie treble, these Ditals or Thumb-keys were to be applied.
Those to be apphed to the strings from B to B were to be of the
same form, but on the four lowest bass strings different Ditals oi-
Thumb-keys were to act. In the illustration supplied with the
specification only one appears, but it was his intention, as he states,
to apply them to all the four strings. The instrument was intended
to rest upon the lap of the performer ; so, to the lower portion of the
body, a stand was attached. As it had a finger-board like the Harp-
Lute, it was to be played upon with the right liand like that instrument,
the fingers of the left hand being engaged in pressing the strings to
the frets when necessary, while the thumb of the left hand, when
required, pressed the Ditals. These Ditals were not intended to be
pressed except by the thumb, and were consequently called Thumb-
keys. They were fixed stops at pleasure, but when required they
could be released. The eyes through which the strings passed, and by
which they were to be pulled down to the frets, were made sufficiently
broad at the top to enable the performer to press such of them as
were within reach and so produce passing accidentals, that is, if it
was found more convenient to produce an accidental by that means
than by the ordinary method of pressing a Dital by the thumb. This
is a brief description of the instrument, one of which was constructed,
and which is represented in the reproduction in outline of the coloured
drawing lodged with the specification.
This instrument Light called the British-Lute-Harp ; but Avlien
it was before him he must have seen that with slight alterations
it would become a small harp, and could be played upon with both
hands — the bass with the left and the treble with the right. He
consequently removed the stop from the E string and added D, F, and
A strings to the treble, ])lacing one or two of the highest strings on
a finger-board with frets. The sham harmonic curve, which may be
' Figures 8 and 9 on the diagram.
I
<0
o
JJJX
CO Q
■ S:
= u
9 X
2'—
THE BEITISH-LUTE-HAEP 99
seen in the illustration, received additional support, which enabled
Light to attach a Dital stop, similar to the others in use, to the
A string in the bass. The Ditals or Thumb-keys, which he had
proposed to attach to the lowest bass strings, were abandoned, and
replaced by three loop stops similar to those in use on the Harp-
Lute. It not being possible to attach Ditals to the strings in the
treble above C, these strings, when a change of key became necessary,
were to be lifted from the nuts, from which they were stretched, and
placed in notches on the frets below the nuts. The manner of playing
upon the instrument being now changed from that originally intended,
and the left hand, except on rare occasions, being required to play
the bass, the first finger bent was hereafter to be used for pressing
the Ditals. The term Thumb-key, which occurs in the specifica-
tion, now a misnomer, was discontinued, and Dital stop took its
place.
It is impossible to say how many of these instruments were made.
The specimen. No. 4, in the South Kensington Museum, illustrated in
Grove's Dictionary under the title Dital-Harp, is one,' and it may be
remarked that the instrument referred to has no stand, but has a
button at the lower end to which a ribbon was to be attached. It
is possible this instrument may have been specially made to suit some
pupil or performer on the Harp-Lute ; certainly the A string in the
treble which is on it was shortly after abandoned, and we next find
the instrument with seventeen strings and with a stand.
A New and Complete Directory to the Art of Playing on the
Patent British -Lute-Harp was prepared by Edward Light, a copy of
which may be seen in the British Museum.^ In the catalogue of the
Library the date is given as 1817, on what authority is not stated,
but in the work the pupil is referred to an engraving, to show the
manner of holding the instrument and the position of the fingers ; so
presumably the engraving,^ which represents a lady in the act of
playing upon the instrument, was issued along with the Directory.
This engraving, which is stated tu represent the British-Lute-Harp,
1 The writer has seen an instrument with for an instrument with seventeen strings,
eighteeu strings, No. 99. -^ This is aquatint and line, liy J. Minasi and
2 It is evident that this Tutor was [.repared Stadler, from a drawing by Buruey.
100 MUSICAL INSTEUMENTS
was published, as the Act directs, February 1, 1819. In this Directory
a number of pieces of music akeady prepared for the instrument are
advertised.
THE DITAL HARP
Light afterwards added two additional strings, A and B, to the treble,
the loop stops to the thi-ee bass strings were abandoned, and these
strings were furnished with Dital stops, and the name of the instrument
changed fi'om British-Lute-Harp to Dital-Harp. A new Directory had
now to be prepared. The engraved title-page of the original Directoiy
was retained, the name of the instrument being altered. The engraving
of the lady playing the instrument was again issued — this time with
the title Dital-Harp — and a new Preface and other letterpress engraved.
Most of the plates of exercises and music were retained, but altered
when necessary, that is, up to page 20, after which page entirely new
music was printed. This new Directory, which is stated to be the
second edition, is dated November 1, 1819. Li it all the music
formerly issued for the British-Lute-Harp was again advertised as for
the Dital-Harp, and additional music for the new instrument also
appears in the advertisement. This list was afterwards added to as
new music was issued. Eventually the Directory was offered to the
public without the engraving (the plate pei'haps being worn out or
the costume considered antiquated), also without date or list of music.
The instrument in point of form was at its best before it received
the two additional strings and its new name (see No. 84 illustrated).
After that the body was increased in size ; the number of strings to
be used for the bass, which was originally nine, was increased to
ten (see No. 160), and eventually to eleven. The spacing of the
strings was also increased, the sham harmonic curve abandoned, and a
much heavier' and more rigid instrument, occasionally without sound-hole
' On account of the weight, these late iustru- portion of the stand there is usually a wooden
ments are steady on the lap. The chief diflSculty support. Attach to each side of this support
in playing some pieces on the early instruments pieces of sheLt-lcad, and the additional weight
is want of steadiness, but the weight may be will probably helji to steady the instrument,
somewhat increiisud in the following manner : The stand is not intended to be used except
Remove the screwnails by which the stand is when on the lap. The instrument is likely to be
attached to the instrument. Across the hollow biokeu if placed stauding and allowed to fall over.
Jj7awn by Bvnn'il
Eiuiravcti hy l.yiiinisi A StAdler. 4
NT DITAL-HAMI-
J
^
a
-)
"r.
^7^?je<r/..//'^/ /'// ( ^/'ur. l__X/y///"^^
/f'
THE DITAL-HARP 101
in front, with diminished vibration and tone in the treble, was con-
structed, of which No. 305 is a specimen. The early, and, indeed, most
of the instruments made before the false harmonic curve was abandoned
are full and sweet, the tone much resembling that of the Pedal-Harp.
Dr. Busby, in his Concert Room Anecdotes, published in 1825,
writes as follows: "The Dital-Harp, also devised by E. Light, and
so called from the Italian word dita, finger (the action or machinery
by which the semitones are effected being pressed by the finger instead
of the foot), though not unlike the Harp-Lute in form, is totally
different in the arrangement of its strings, in the method of performing
on it, and in its general effect. This instrument is strong in tone,
tuned precisely as is the Pedal-Harp,^ and is also played upon with
both hands, the only difference being that in the way it is held the
order of the strings is inverted, the longest or bass strings being
nearest to the performer — a convenience effected by a simple httle
machine attached to each string, for which the inventor obtained
a patent." "
" The Dital-Harp may be played on in all the usual Harp keys, and
every semitone may be expressed at pleasure. Its compass has the
extent of three octaves — that is, from Eb below the bass clef to
Eb in alt. Its tone is of a dulcet quality, and unquestionably,
the Pedal-Harp excepted, this instrument is the most eligible ac-
companiment to the human voice."
This appreciative paragraph by a cultured musician who had ample
opportunity of hearing the Dital - Harp when performers on the
instrument were numerous, may perhaps induce some of the possessors
of these instruments to attempt ' to play upon them ; and it is the
object of the writer to make this not only possible, but simple. But
before proceeding to that portion of the chapter, it is necessary to
refer to a statement by Dr. Busby to the following- effect : " The
Dital-Harp may be played on in all the usual Harp keys, and every
semitone may be expressed at pleasure." This is no doubt what
Light intended ; but Light, a busy man, must have depended upon
certain instrument-makers, and so defects crept in of which probably
Light was unaware. For example, on No. 160 illustrated, E3 cannot
' Tlia,t is, to the written notes. ^ This ia correctly reproduced.
102 MUSICAL INSTKUMENTS
be expressed in the keys of Gtl and Dt; ; FH and Gfl cannot be
expressed in the key of AtJ ; and Dtl, Ft], and GC| cannot be expressed
in the key of Eg. A performer may use a Dital-Harp for years
without requiring any one of the missing notes, but if the reader
examines the accompanying diagram' of the frets, he will see how in
some cases the missing notes may be supplied ; for on this diagram an
additional finger-board — which is shaded — the writer has lately added,
and upon this additional finger-board the three missing notes can be pro-
duced. It may be of interest here to state that the range of the
instrument can be increased to four octaves by constructing a small
finger-board such as represented on the diagram, which finger-board
can, when required, be made to grasp the sides of the permanent
finger-board, and so remain in position as long as desired.
It was not necessary for Dr. Busby to notice the defects in the
instrument, even if he was aware of them, but it is the writer's
duty to do so ; for, with all its elegance of form and delightful
quaUty of tone, the Dital-Harp is by no means perfect. For instance,
only one accidental can be produced at a time ; that is, if AH is required
throughout, as on the Pedal-Harp, two Dital stops must be fixed for the
bass strings, and one treble string removed from the nut to the fret.
To produce even a passing accidental, the left hand must drop the bass
to press a Dital stop or press a string to a fret in the treble. To
change the key the strings must be rearranged, and, as this takes
time, a sudden change of key is as a rule impossible. Still, with all
its defects, the Dital-Harp is a charming instrument, and must be a
delightful accompaniment for the voice, and within its own limits is
both in form and tone vastly superior to the Spanish Guitar.
MECHANISM
The mechanism of the Dital-Harp consists of a series of levers
ranging from one inch and thiee-quarters to four inches and three-
eighths in length. These levers are supported at their centres by
perpendicular supports of steel, each of which, along with the spring
which keeps thii lever in position, is fastened at the lower extremity to
a large brass plate, about one-tenth of an inch in thickness, which
' TUe dotted lines show the Htriugs when they are removed from the uuts to the frets.
DITAL-riARP N°I6 0
THE DITAL-HAEP
103
ttihg Itb
104
MUSICAL INSTRUMENTS
sustains the whole of the mechanism. This brass plate is simk in a
cavity at the back of the instrument, and there secured by numerous
screws, the whole being enclosed by a piece of painted wood fastened
to the instrument by screw-nails
A Dital stop may be said to consist of a knob (to be pressed by the
finger), which knob is at one end of a steel rod attached to one end of
the lever. At the other extremity of the rod there is a notch.
The lower portion where this notch occurs passes through a
circular hole in the brass plate, to which on the under or lower
sg^ 'm. side a small piece of steel like a tooth is attached. When
a Dital is pressed by the finger and it is requii'ed to be fixed, it is
pulled downwards, and then the notch at the end of the rod becomes
fastened as it were to the tooth, the pressure of the spring, and also
of the string a\ hich is drawn back, keeping it in its place. The Dital
is released by a slight upward push.
It is obvious that the notch and its corresponding tooth must
eventually wear away, and when in that state a slight and accidental
touch may release the Dital and cause inconvenience. Of coui'se, if
an instrument is so much worn that the stops will not remain fixed,
the whole of the mechanism will have to be removed and a new and
larger tooth made to replace the one worn away, the notch in the rod
being also renewed.
DITAL FIXED.
DITAL RELEASED.
At the opposite end of the lever a small rod is attached, which
has a slight ledge sufiicient to hold in its place a leather washer or
buffer, which buffer, when a Dital is released, rests against the brass
plate through which the remaining portion of the rod passes. At the
r
DITAL-HARP N°30 5.
THE DITAL-HAEP 105
end of this rod there is a screw to which the brass eyehole is secured.
The harp string passes through the eyehole, and by it the string is
drawn back when required.
The diagram already given shows the position and action of the
springs supplied to the smaller
levers. The longer levers are J- — t>^^is
supplied with a totally different ^^
form of spring here represented. "^^"^
To remove the mechanism, unscrew all the eyeholes/ unscrew all
the Dital knobs (these last are usually numbered), unscrew the wooden
plate at the back. Take out all the screws by which the brass plate
is fastened to the instrument. If it is required to remove any of the
levers from the brass plate, they must all be removed (down to the
one the removal of which is desired) in the following manner, com-
mencing with the longest. First unscrew the pin in the centre of
the lever, then insert a piece of string under the spring, raise the
spring and push forward the lever until it can be removed. Remove
the four followino- levers in the same manner. To remove the eisfht
shorter levers, fix the stop and press the other end of the lever w^iile
unscrewing the pin. The above directions must be attended to while
replacing the levers. Almost all the parts of the mechanism are
numbered, the five long levers by dots, and the eight short levers by
numerals.
The jarring sound which sometimes occurs when the string is struck
from the nxd, may arise from the groove in the nut being too wide,
the nut not being high enough, the string not passing directly through
the eye, or the string not being suflficiently strained over the nut.
If the jarring sound occurs when the string is stretched from the
fret, it shows that the Dital does not draw the string down sufiiciently
above the fret, or that the fret is too low.
To make an instrument which is largely defective correct, the
mechanism must be removed as before directed, and it is perhaps as
well to make new nuts and frets throughout. The old frets had better
'&
' Those for the lower bass strings have generally removed, tied to a string, the others aildeil iu
enlarged eyeholes ; consequently the eyehole lie- succession, and eventually replaced in their
longing to the lowest bass string should be tirst order.
O
106 MUSICAL INSTRUMENTS
be removed by carefully sawing lengthways through the centre of
each fret with a very fine saw and water, afterwards melting the
glue by applying hot water. The glue and pieces of ivory should be
removed and the grooves cleaned. Pieces of ivory filed down to the
proper thickness, each to fit a particular groove, must then be prepared.
These pieces of ivory must be of greater height and length than the
frets they are to replace. Looking at the upper
side of one of these pieces of ivory when placed in
the groove, it will take this form, the dotted line
indicating the probable depth the ivory will be sunk in the wood, that
is as if a sharp pencil were drawn along it when in position. Now
find where the string when stretched crosses the ivory, and mark with
a sharp pencil on the ivory on either side of the string. Between
these marks make a perpendicular cut downwards with the fine saw,
but not too far. Gradually open this with a file, knife, and sandpaper
so as to exactly fit the string, which must be of the proper thickness,
until, when in position, the string, when tuned to the proper note, will
ring clear, the string being as near the upper portion of the eye as
possible. The lower portion of the notch for the string had better be
cone-shaped. Now find where the string for which
the continuation of the ivory is to form a fret
crosses it, and with a file remove a portion of the
ivory, which will then present this appearance; trim it roughly with a
file, but not too close.
If all the nuts and frets are to be renewed, it is better to commence
with the lowest bass note, and if necessary make a new nut and glue
it in position ; all the old nuts and frets having been removed as
directed, take a piece of ivory, not too thin, but such as will go into all
the grooves, file it to the form of a long fret, higher considerably at
one end than at the other, make a number of
shallow indents on one side. Now place this piece
of ivory in the groove below the nut of the lowest
bass string, which must be tuned up to Eb ; press the knob at tlie back
and fix the stop. When the string is stretched from one of the
notches, and gives a clear ringing sound without a jar, and at the
same time when the stop is released the open string does not jar,
THE DITAL-HARP 107
you have the proper height of the fret. Take a fine pair of compasses
and measure the height of the groove (the string has been stretched
over) from the surface of the wood. Now glue the nut for the second
string (prepared as directed) into the groove, taking particular care
that the string, which must be stretched from the nut, passes directly
through the eyehole. Press the ivory well into the groove, release
the string, and see that the nut is perpendicular. When dry, press
the lowest bass string down by the stop, and just when it meets the
ivory make a mark on either side of the string. Now cut or file
between the lines a notch just the thickness of the string, which
notch is not to be made lower than the measurement previously taken.
Treat all the other nuts and frets in a similar manner, and you will
have throughout the bass the proper height of each fret. In no case
can the fret be lowered, so if there is a jar when the string is sti'uck
from the nut, if the string is sufiiciently strung and is of the proper
thickness, the jar arises from the string being too high, and the
notch in the nut may be gradually lowered, testing the string frequently
until the jar ceases. A performer is not expected to pull the strings
with the same force on one of these instruments as on the Pedal-Harp,
but considerable force can be used when the instrument is properly
constructed. All the nuts and frets having been so
treated, these must be nicely finished oft' in a uniform l^
manner, carefully sandpapering both the surface, the groove, and the
notch of each, and afterwards polishing with chamois and whiting.
The jarring, if it only occurs on a few of the strings when the
Dital stops are in use, may be prevented by putting thin strips of
leather through the eyeholes, drawing them tight over the upper
portion of the eyeholes and fastening them.
The arrangement and construction of the nuts and frets for the
treble strings are more troublesome than for those of the bass ; for
whereas in the bass there is only a difierence in the plane when
the key is changed from Eb, in the treble there is that difierence,
and also a difference in the spacing of the strings. So taking C,
the first string, with a Dital stop, and B, the first treble string,
when preparing the nuts and frets, they must be arranged so as to
keep the open string D sufficiently apart from C, to allow of the
108 MUSICAL INSTRUMENTS
removal of D to the fret without, when on the fret, being too close to
C, and the same with regard to the other treble strings. This small
diagram represents (as seen from above) the nut, 1,
)^4_,>'|V_,^ from which the Eb string is stretched, and the fret,
2, on which the D string may occasionally be placed.
The Eb string is shown in two positions: at 3 it is on the nut;
when removed from the nut to the fret it is at 4. The D string is
also shown in two positions : when on the nut it is at 5, the fret being
so arranged as to prevent jarring ; at 2 it is as it would be when
removed from the nut to the fret. The treble strings must not jar when
on the nuts, and they must not jar when on the frets ; and there should
be no liability on the part of any of the strings to jump from either nut
or fret when struck on either one side or the other. All that has been
described has been carried out on No. 160, and with complete success.
STRINGS
As the Dital-Harp strings are as a rule shorter than the corre-
sponding strings upon the Pedal-Harp, and as many of these instruments
are lightly constructed and unable to withstand the excessive strain
caused by the tension of ordinary Harp strings, thinner strings must be
selected. No doubt the three lowest strings on the British-Lute-Harp
were silk and wire, but it is unnecessary that the corresponding strings
on the early Dital-Harps should be so.
On a Dital-Harp, the longest or nineteenth string of which is 24|:
inches, and the shortest string 8f inches, the following strings may be used :
For the Eb string, B 4th octave, or perhaps even A 4th octave, Erard's
gauge. The F string, C 4th octave, Erard's gauge, and all the others
one-fourth thinner than the corresponding strings on the Pedal-Harp.
For instruments of a late make, where the longest string is
27yV inches, and the shortest 7* inches, strings one-third thinner than
the corresponding strings on the Pedal-Harp will be more suitable.
If there is any difficulty in procuring strings of the proper gauge stained
black and red for the F and C strings, ordinary white or clear strings
of the correct gauge can be stained by passing cotton wool saturated
with black or red ink over them, and when dry, olive oil. It is better
the stringing of the instrument should be attended to by the person
THE DITAL-HARP
109
who intends to perform upon it, otherwise strings totally unfit for
the instrument may be placed upon it, and perhaps the sounding-
board seriously damaged. Probably the difficulty of getting lightly
constructed instruments to withstand the tension of such a number of
strings was the cause of the construction of the heavy and rigid
instruments previously noticed.
Proper strings having been provided for the Harp, all the Dital
stops being released, and all the treble strings upon the nuts, the
lowest string is to be tuned to Eb French pitch, or Dtl on the Piano,
and the remaining strings tuned in a series of fifths and octaves as
shown on the following diagram.
/ -O,
-©■
«a I •\ ^
1
-«>-
^Q_
\ ,-o^
\ .'-S2.
~cr
Cadence or Proof.
^\\\\\\ l\^^ II
^
^
m
Scale or Gamut of the Dital-Harp.
Right Hand _ c- o> -e>-
"CV
Fipts
v.-\ o
T -^ •
Left Hand ^- .^^ ia.
-e-
-o-
3k3:
THE CHROMATIC SCALE.
To shew the use and order of all the Ditals and Stopped Notes .
^. k^.M^ii*'"!'-^ 'r
;i>|>T^..|oT.|-^'i^'^"i^^"-
^
or or
or or
h'Ul. l^rjj.^'Hoff. p^l|»
v-«*-tl
^:4
iz^i.
l?l-re*2".<' 3'! J'^^U^
i>^l^^
i
Tir~
no MUSICAL INSTRUMENTS
The bars include the notes which each string can be made to
])roduce. The seraibreve shows the note the string sounds in its
natural state ; the crotchets, the notes which can be produced from
the strings when the Dital stops are used. A Dital can be fixed by
first pressing against it the second joint of the first finger when bent,
and then drawing it downwards ; a slight upward movement will
release it. The semitones are to be made on the treble strings, when
there are no Dital stops, by pressing the strings just above the
frets.
MANNER OF HOLDING AND PLAYING UPON THE DITAL -HARP
Place the instrument in the lap nearly perpendicular, but inclining
a little to the left, so that the performer may just have a side view
of the strings. The arms should be a little raised, in an easy semi-
circular form ; the left wrist alone should be allowed to touch the
instrument, which rests against it, the left hand being free to pull
the bass strings as shown in the illustration. The thumb and fingers
of the right hand are to grasp the treble strings. Place the thumb,
which must always he held as iipright as 2^ossihle, upon the E string,
and the three first fingers upon the next strings. Strike with the
thumb, then pull with the first finger, which falls, then with the
second finger, cross the thumb to the B string, and immediately pull
with the third finger, and place the three fingers in position. As a
rule, the fingers are always on the strings ; that is, before a movement
is concluded, the thumb or fingers are preparing for what is to
follow. Chords are generally played as arpeggios, i.e. the thumb
and the three fingers grasp the strings, and by a sudden turn of
the wrist the thumb strikes first, and then three fingers pull in
succession.
Exercise for the Left hand. Exercise for the Right hand.
Ex:2.
7
Bass
THE DITAL-HAEP
111
Ex:3.3
Treble
^^pirfeg^,[?^ff?^
+ 3 21 gi +
[,i7^j.ii^jjjjijnf]^M'j^i^irF^ p j II
Ex:J7
Ex-.7S.
^^^^^^^^^^^^J
When playing Ex. 11, slide the thumb from the G to the Ab strino-
at the moment the Bb string is pulled by the first finger ; then slide
the thumb from the Ab string to the Bb string, when the second fino-er
pulls the C string, and immediately the first and second fingers cross
the third, and are placed upon the strings above. Then slide the thumb
from the Bb string to the C string, when the third finger pulls the
112
MUSICAL INSTRUMENTS
D string. The third finger is then to be placed upon the string above
the second finger.
When descending, the fingers are not to slide.
Ex.M
SLIDE ASCENDING.
SLIDE DESCENDING.
When playing Ex. 14, the thumb slides from Bb to C, then strikes
the C string, and the fingers pull the D, E, and F strings in succession.
When descending, the third finger slides. A line above or below two
notes indicates that the thumb or the third finger is to slide.
When playing six notes in succession, the thumb and the first finger
ai-e on the strings. The thumb strikes, then crosses to the string above
the first finger, the first finger pulls the string, and the thumb and
the three fingers strike and pull in succession.
To produce harmonic tones, press slightly the edge of the right
hand, just below the little finger, as near to the centre of the string as
possible. Then strike the string with the middle finger, and at the
same instant remove the hand from the string.
When four succeeding notes fall upon the same line or space, they
should be fingered by the thumb and the three fingers in succession.
THE GRACES IN GENERAL USED ON THE HARP.
The Plain Turn as mark'd ExplainVt.
Turn after the Note Explain'd. InvertedlXirn Explaind. The Slur Explaind.
Slur after the Note Explaind. The double Appog-iatura Explaind.
THE DITAL-HARP
113
The Shake —
Explained.
Grace and Shake E xpIainM.
i
ii^fi
jjjjjjjjj II
i=*
1 +
1^ +
I
The Beat thisGraceis always made from a semitone below. Explain'd.
i
As it is impossible, in such a work as this, to give many exercises,
a Harp Tutor (if possible with exercises in Eb) had better be procured,^
and the fingering reversed. After a little practice, one or two interviews
with a professional harpist will be of advantage, as, although unable
to play the Dital-Harp, he could detect an incorrect method of playing
in another.
So far all the exercises, etc., have been in the key of Eb, the original
key. By attending to the directions hereafter given, the Dital-Harp can
be played upon in seven additional major keys.
To change from Eb to Bb major, fix
the Ditals for the A strings, and remove
the A string in the treble from the nut
to the fret. Cadence
ffi'iailiii
5€
?8
g^^
To change from Eb to F major, fix /(?, ^^ ■?; 3g a s-
the Ditals for the A and E strings, and Iff^'*-' T T ^' ^F ' ^' | ^^
3
PE
U
iH ij li li \i
PfT
^
remove the A and E strings in the treble
from the nuts to the frets. Cadence
To change from Eb to C major, fix
the Ditals for the A, E, and B strings,
and remove the A, E, and B strings in
the treble from the nuts to the frets.
Cadence
To change from Eb to G major, fix
the Ditals for the A, E, B, and F strings,
and remove the A, E, B, and F strings
in the treble from the nuts to the frets.
Cadence
' The First Six Weeks for the Harp, by N. C. Bocbsa, is excellent, but requires to be transposed.
P
114
MUSICAL INSTRUMENTS
To change from E b to D major, fix the
Ditals for the A, E, B, F, and C strings,
and remove the A, E, B, and F strings
in the treble from the nuts to the frets.
Cadence
To change from Eb to A major, fix the
Ditals for the A, E, B, F, and G strings,
and remove the A, E, B, and F strings
in the treble from the nuts to the frets.
Cadence
To change from Eb to EK major, fix
the Ditals for all the bass strings, and
remove all the strings in the treble from
the nuts to the frets. Cadence
lyr^JlJfJTh^
s
ip
i;
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^
:&:
+g
ffl'-lftftf!^
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^;
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^
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The key of EtJ is scarcely used, as the music can be played in Eb.
After playing in any key, except Eb, all the Ditals that have been fixed
should be released, and all the strings on the frets removed to the nuts.
The writer has not met with music in a minor key for this instrument,
but presumably the Dital-Harp can be played in the same minor keys as
the Single Action Harp.
Before concluding this chapter, the writer considers it desirable to
notice the manner in which the Dital-Harp has been represented by artists.
THE INSTRUMENT AS REPRESENTED BY ARTISTS
Some years since a drawing entitled "The Harp-Lute" appeared
in the Water-Colour Room of the Royal Academy. In this picture
a lady is represented, presumably in the act of playing upon an instru-
ment which is not a Harp-Lute, as the artist supposed, but is a
Dital-Harp. The instrument is placed with the shortest strings
nearest to the performer ; in fact, in an incorrect and absurd position.
Later on, another picture was exhibited at the Royal Academy, in
which a lady is represented as singing and presumably accompanying
herself upon a Dital-Harp. In this picture the longest strings are
nearest to the supposed perfoi-mer, and so far it is correct. But the
THE DITAL-HAEP 11&
instrument, which is unsupported as it should be by the left wrist,
is leaning back, and the fingers of the left hand, instead of grasping
or pulling the bass strings as is usual, or pressing or releasing a Dital
stop in the bass, or pressing a string to a fret in the treble, as they
occasionally may be, are represented as wandering over or pulling
portions of the strings high above the nuts, from which no notes can
be produced. One would suppose that the first thing an artist, who
wishes to introduce an instrument into a picture, should be acquainted
with, is the correct manner in which the instrument to be I'epresented
should be held when played upon ; but the producers of these pictures,
who by their works have handed down to posterity representations of
this once favourite instrument as being played upon, show that they
are or were singularly ignorant of the matter.
MUSIC
In the following list, the music published for the British-Lute-Harp
appears in Italics. These pieces and others were afterwards advertised
as " Music already published for the Patent Dital-Harp " : —
A New and Complete Directory.
Euterpe's Melange, containing a variety of favourite National Airs.
Divertimentos or Airs with Variations, with Introductory
Preludes —
No. 1. Air from Achille et Deidamie.
No. 2. A favourite Tema Fleyel.
No. 3. " 0 Dolce Concento."
No. 4. "Ah! vous dirai-je."
No. 5. "Ar hyd y nos."
No. 6. " Ye Banks and Braes."
Duets for the Dital-Harp, and Pianoforte, with Flute Accom-
paniment—
No. 1. " E Amore un Ladroncello."
No. 2. " Non jnH Andrai."
No. 3. " La mia Dorabella."
No. 4. " Notte e Giorno, and Batti, batti."
116 MUSICAL INSTRUMENTS
Six Canzonets for the Voice, with an Accompaniment for the Dital-
Earp or Pianoforte.
Melodia Sacra, or a choice Collection of the most favourite Hymns.
Favourite Airs and Waltzes, etc. Set 1.
Six Venetian Canzonets, with an Accompaniment for the Dital-
Harp or Pianoforte.
Favourite Airs and Waltzes, etc. Set 2.
Preludes and Cadences in various keys. By Richard Light.
Single Songs with an Accompaniment : —
" Sei bella, sei buona," Canzonetta Napoletana.
I saw thee weep. Canzonet. Poetry by Lord Byron. Music
by K. Light.
Kate Kearney. Canzonet.
Amante Irresoluto. Canzonetta Pastorale. Music by R Light.
0 Nanny, wilt thou gang with me ?
The Fairy Bower. Canzonet. Music by R. Light.
C'est toujours Toi.
Far in the West. By R. Light.
To thy Spirit I Bow. By R. Light.
In both the 1st and 2nd editions of the Directory there are easy
pieces in the eight keys, and in the second edition a few vocal pieces,
with accompaniments, and two Duets for the Dital-Harp and Pianoforte.
Richard Light also arranged a number of Airs, such as — The Blue Bells
of Scotland, The Clifton Waltz, Minuette from Don Giovanni, and a
Welsh Rondo for the Dital-Harp and Pianoforte. No doubt much
additional music was written or arranged for the Dital-Harp, but with
the exception of No. 3 of Divertimentos, etc., and a fragment of Favourite
Airs and Waltzes, etc., No. 1, both reproduced, the writer has not met
with any advanced music for the instrument.
THE DITAL-HARP
117
EXERCISESfor BOTH HAXDS, to FACILITATE the FINGERING.
Hx-.U.-
^m^'^ f>
F^yq w^mmm^
m
m
+ 12
21 +
Ex: 13.
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^
ffTfi I'T^i ilT}"i i-^T^i ^t^ «
^=E^^
*
I
1^ T"
BY EDWARD UOHT.
118 MUSICAL INSTRUMENTS
AGROUND, with Variations, or the Pupil's daily practise.
TEMPO '
^SES
W
GIVSTO
f^Mfrfffffff-rftmr^^^
i^^^B^
Br EDWARD UOHT.
THE DITAL-HAEP
119
Allegro Moderato. 3
BY EDWARD LIOBT,
Divertimentos fi'.'S.
120
MUSICAL INSTRUMENTS
n DOLCE CONCESTO
•12
Mozart.
Alleeretto « ^ ?
Allegretto
ci ■
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Divertimentos N'.'3.
AUBANCED BY EDWARD UOBT.
THE DITAL-HAKP
121
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^^^^^^^^^^11
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Divertimentos Iii? 3.
AREASGED BV EI/WARD UOHT.
Q
122
MUSICAL INSTRUMENTS
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Divertimentos N" 3.
ARRANCED BV EDWARD UGBT.
THE DITAL-HAEP
123
+ 2
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Divertimentos N?3.
AltRANCED BY EDWARD UOHT,
124
MUSICAL INSTRUMENTS
THE CUCKOO
WORDS AMD MUSIC BY MISS MAROARET OASSON.
W^
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Now tho flun is in the west,
Cheer - ful see yon shep - berd boy,
Sink - - ing slow bo - hind the trees, And the Cuck-oo,
Climb --iiig up the crag gy rocks, As he views tho
\ \g. . . __.
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es
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wul ■ come guest^
dap - - pled sky,
Gent- -ly wooa tho ev' -- ning breeze : i , n t , r- , , /^ .
' ° ] Click- 00 ! Cuck-oo! Cuck-oo! Cuck-oo!
Pleas'd, theCuck-oo'» note he mocks: I
""i-"l. 1 "1
pEE^E^
Gent ly woos the ev' - ning breeze.
Pleas'd, the Cuck • * oo's note he mocks.
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Sport- ivo now iho
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THE DITAL-HARP
125
THE CUCKOO.
j^J J ij. i-r^mm
m
yvp I" r
3^
swal - Iowa play,
o'er the plain
Light • ly skim - ming o'er the brook, Dart - ing swift thcv wing their way,
Ev'- ning's dus- ky shades appear, And the Cuckoo's voice a — gain
m
irri
^^^^^^^
5=a:
^ ' J
Home • ward to their peace - ful nook.
Soft- ly steals up on the ear,
Whilst tho Cutk - oo, bird of Spring, Still a - midst the
While ret.ir--ing from the view, Thus she bids the
^^pW^^pWpi
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m
^m
^^^^^i^i^^^^^^iS
trees doth sii
day a - dieu : /
'^ ' I Click - 00 ! Cui;k - 00 ! Cuck ■ oo ! Cuok ■ oo !
Still .t - midst the trees doth sing.
Thus she bids the dav a- - dieu.
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m
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126
MUSICAL INSTEUMENTS
MISS WADE'S MINUET."
DITAL-HAKP.
DOLCE.
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1 This minuet was composed by Signor Edelmans, and is the concludin;; movemont of bta Sonata 1 Op. 7. The minuet alone will be
found in Budd's Divertimentos for tlie Harp, Op. 2, p. 16, but without the oomposer's name Later on it was published as a Trio for
stringed intttruments, as Mise Wade'!) Minuet, but without the composer's name.
THE DITAL-HAKP
127
MISS WADE'S MINUET.
P^
{^m^mmm^^i^^m
^mm^^-w^mm
D. C.
^^^^
BEAUTIFUL AKE THE FIELDS.
SIB BENBT BI3H0F.
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DITAL-HAEP. < CON EXPRESS!.
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(FixD) (UoFF)
c/eeres
128
MUSICAL I N S T E r ]M E X T S
,/l FArofilTE AJIi
Martini.
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Airs and Waltzes N9l.
ARRANGED 1!Y EDWARD LIGHT.
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in
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a
THE HARP-VENTUKA
The reader may recollect how Light, when endeavouring to produce a
Chromatic Harp-Lute, invented a totally different instrument. Where
Light failed, a more ingenious mechanist almost succeeded.
Angelo Benedetto Ventiu-a,' Professor of the Harp-Lute, Spanish
Guitar, Lyre, Apollo Lyre, and of the Harp- Ventura (who had formerly
been instructor to the Princess Charlotte of Wales), now came to the
front, and on the 21st February 1828 obtained a patent for certain
improvements on the Harp -Lute. As the statement in the speci-
fication is brief, the writer thinks it advisable to reprint it in extenso,
so that the reader may see how difficult it is to understand from
Ventura's diagrams and descriptions the manner in which the keys or
stops become fixed when the mechanism is worked by what he calls
the lever action : —
" The first is my improvement on the Harp-Lute, now called by
me the Harp- Ventura, and is represented by a complete drawing of
the instrument marked with the letters A, standing upright on a flat
bottom by itself, the front outwards, without any pedestal, and has a
small box underneath which opens by a spring for the convenience of
carrying a small quantity of strings and the like at the top, for the
purpose of holding the tuning key. The body of this instrument is
a diflerent shape to any yet ever invented, and will be further described
hereafter. This instrument consists of seventeen strings marked C
• He resided at 2 Little Titohlield Street, Port- Besides aa Imperial Harp-Lute, Ventvira also
land Street, in IS 15. We hear of him at 48 invented and patented an improved Guitar which
Cirencester Place, Portland Place, in 1828, and he called the Ventura Guitar. This instrument
later on at 43 Great Mary-le-bone Street, Portland has seven strings, a hollow finger-board with
Place. It may not be out of place here to state mechanism, and some special mechanism attached
that Ventura invented an instrument called by to the seventh string. The instrument is illus-
him the Tmperyal Lyre. A specimen appears to trated and described in the specification which
have been recently sold by Messrs. Puttick and forms part of that of 21st February 1828 for
Simpson, and is described by a correspondent as the Harp-Ventura. He wrote principally for the
" smaller than the Lyre-Guitar " (an error for Guitar, but he also wrote for the Harp-Lute,
"Apollo-Lyre"), and as having twelve strings. Imperial Lyre, etc.
130 MUSICAL INSTRUMENTS
(two more may be added to the bass) ; some of these strings are made
of catgut, some of catgut and silk covered with wire, my invention,
and some of silk covered with wire, seven of which strings are played
upon three different finger-boards (marked with the letters D), with
frets or bars on them ; the rest of the strings are fixed to the top of
the neck of the instrument to part of a machine, after the manner
of the grand Pedal-Harp, each string passing between a fork for the
purpose of altering the notes from their original tone to the flat, sharp,
or natural, performed by the other part of the machine fixed near the
finger-board in the neck of the instrument called a poUice, and which
will be more particularly described hereafter. The great improvement
of this instrument is, that it has all the properties of the grand Pedal-
Harp, as well as that of the instrument the Harp-Lute, and which is
produced by the construction of the body, and the machinery fixed to
the top and neck of the instrument now about to be described. The
machine affixed to the neck and top of the instrument (see Drawing
marked X, X) is made part of brass or other metal, pai't steel, and
part watch-spring, and is as follows : —
"The Figure 1 in the Drawing is a representation of the stud to
support the strings intended for the bass ; 2, the fork between which
the strings pass to alter the note from its original tone to flat, sharp,
or natural ; 3, the arber to screw into the fork ; 4, the spring to attach
to the arber, and fixed to a small pillar to make the fork act ; 5 is
the small pillar, with a cavity to admit the spring, which is fastened
with a small pin ; 6 is a representation of two of the poUice levers, one
with a straight end, and one bent ; 7, the lever spring to catch the
lever to make the fork act, which is performed by a pull with the thvunb ;
8, the trigger to attach to the lever spring, which makes the fork act
instantaneous, it being connected with the conductors hereafter de-
scribed ; 9 is a representation of a poUice performed by pressure ; 1 1 is
a representation of the before-mentioned sections 2, 3, 4, 5, 6, 7, and 8,
complete with the conductors and cranks, as in the machine, it being a
single action acting only on one of the forks ; 12, the like representation,
with the conductors and cranks acting on two of the forks, which
may be increased to three or more ; 13 is the like by pressure and
crank; 14, a representation of the seven poUices complete by lever;
V
en
^
CO
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tn
^
en
v^,
en
<i--^
en
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ca
<ir,
"
^
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o
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I
THE HAEP-VENTTJEA 131
15, the like by pressure. B represents a ponte volante, or shifting
bridge, fixed at the bottom of the body of the instrument, and under
which is a small machine to touch the springs fixed to the string
bridge, which make the imitation of the bassoon;^ 16, a representation
of the ponte volante ofi" the instrument; 17, the machine to imitate
the bassoon. E represents the side of the instrument, which is from
the front to the back of a slanting position, thereby making the back
near one-third less in size than the front. F represents the back of
the instrument, being flat on each side with the middle round to
improve the tone."
The writer has carefully examined an early Harp-Ventura, the
mechanism of which is worked by pressure, and it will perhaps simplify
matters to ignore the specification and describe the instrument and
mechanism, both of which are shown by the plate. The Harp- Ventura
resembles in appearance the Harp-Lute, but is larger^ and has little
of the graceful form of that instrument. It is, however, a most
ingenious and almost perfect instrument ; that is, almost as perfect as
a Single Action Hai-p. It has three finger-boards, and originally had
ten bass strings, afterwards increased to twelve, and with the latter
number has the unusual compass of four octaves. The instrument has
a piece of silk and wire protruding from a hole at the left side of the
lower end to which the ribbon is to be attached, the other end of
which is fastened to the lower portion of the capital which surmounts
the pillar, the instrument being held slantingly across the chest.^
Along the inner side of the neck are seven stops or keys, each one
of which when pressed home shortens one or two of the strings ; that
is, when there are two of the same in the bass both strings are
shortened at the same time by the action of one stop or key. Thus,
what the feet accomplish on the Pedal- Harp is here effected in the
bass by the thumb of the left hand. A movable rest covers the lower
' On none of the instruments examined was The length of the strings will be hereafter given,
there a machine to " make the imitation of the The dimensions of the specimen in the South
bassoon." Kensington Museum, with lever action and twelve
-The following are the dimensions of the open strings are : — Extreme length, 2 feet 9 inches ;
specimen illustrated, which has ten bass strings: width, 13j inches.
— Extreme length, 33 inches ; width of sounding ^ At the lower end of the instrument there is a
board, 14| inches ; depth of body at lower end, box for strings, and at the upper end of the body
4^ inches ; depth of body at the centre, 5 inches. a small box in which the tuning key is kept.
132 MUSICAL INSTRUMENTS
portion of the strings ; on this the hand is placed when the instrument
is being played upon.
The mechanism which moves the fork action, and so shortens each
of the bass strings, as may be seen by the plate, is somewhat similar
to that in use on the Single Action Harp, but reversed, small watch-
springs being attached to the "arbers" which move each of the seven
lowest forks in the bass ; each spring, as soon as the atop or key is
released, draws one or two forks back, and so releases the strings.
This mechanism in a measure resembles that of the Single Action
Harp, but the tringles of that harp are placed side by side, whereas
in the small head of the Harp-Ventura, there not being sufficient
depth to allow of such an arrangement, Ventura scattered and crossed
the tringles, and by the use of double and single cranks when
necessary produced a mechanism with comparatively little depth,
which, although roughly made, answered the purpose he had in
view.
If the reader turns to the illustration and follows the A| stop
from the crank by which it has drawn the conductor down, he will
see near the curve the connection with the upper A fork ; and,
following the tringle to the end, the watch-spring will be seen
tightened round the " arber " to which the lower A fork is attached.
The G conductor and tringle can also be clearly followed to a double
crank, which, on account of the direction the trixigle has had to take,
is necessary to turn the fork. The G, B, D conductors are attached
to cranks which support the tringles as in the large harp ; the four
others appear to be more or less independent.
To the reverse of the plate shown in the illustration seven steel
springs are attached ; each has at the end a long, sharp tooth. These
teeth pass through the plate, and hold the stops when they are
pressed home. Each stop is perforated in two places ; by the outer
perforation it is held by the tooth, but through the inner perforation
a brass rod passes, then through a hole m the plate, and is screwed
into the steel spring. Each rod has a knob at the outer end ; so
when a knob is pressed, the spring is raised, the tooth withdrawn, the
watch-spring acts, the stop is released, and the fork ceases to grasp
the string. On the plate both the instrument and the mechanism
HARP-VENTURA MECHANISM.
No. I -ACTION BY PRESSURE. THE B. G, AND A STOPS. EACH OF
WHICH SHORTEN TWO STRINGS. ARE FIXED.
No. II-LEVER ACTION. THE LETTERS INDICATE THE "ARBERS.' TO
THE OTHER ENDS OF WHICH THE 'FORKS ARE SCREWED
THE HARP-VENTURA
133
are shown when the G, B, and A stop— each of which shortens two
strings — are fixed. The defect of this mechanism is that a passing
accidental in the bass cannot be produced without pressing a stop or
key, or releasing a stop or ke}^ by pressing a knob at the back, as the
case may be, and, after the accidental has been produced, either pressing
a knob at the back or pressing a stop or key, a double movement which
causes such delay, that if a passing accidental occurs in music that is not
exceptionally slow it cannot be expressed.
The lever action is different. In it the conductor is attached to
the centre of the lever; the spring is formed like the letter L. To
the end of the shorter arm A, a steel wedge or
tooth is attached, which tooth passes through the
plate. At B, at the junction of the two arms, the
rod for raising the spring is attached. The lever.
^
when pulled down, forces the wedge or tooth up, and when it has
passed the wedge or tooth, the spring descends, and the tooth holds
the lever in its place. The stop is released by pressing the knob
which raises the spring.'
The mechanism is ingenious. The stops before noticed, which may
be seen on both illustrations, are marked from the uppermost down
as follows :— First, Eb ; second, Bb ; third, F# ; fourth, C| ; fifth, G# ;
sixth, Djl ; and seventh, A#. This indication, which is wanting on
the later specimens with the lever action,'- is valuable as a key ; for,
even if we had not the intimation that the instrument is an improved
Harp-Lute, there could have been no doubt that the Harp- Ventura
was intended to be tuned like the Harp-Lute in the key of C.
Scale of the Harp- Ventura
Open strings.
^M
^
^
ISI FlNGER-BOAAD.
2nd Finger-Boakd.
^^ffl
3rd
0^
i
' The length of the downward pull in this lever - There are two in the South Kensington
action is \^ of an inch at the end of the lever Museum,
outside the instrument.
134
MUSICAL INSTRUMENTS
Chromatic Scale of the Open or Bass Strings.
W^
»[|^b»|Oft<>t.b«i^
1
M
^
«!l^^t^^,U>-lb.^oloHJ°ff-^
=4^
The bars include the notes that can be produced from each string.
The instrument being tuned in the key of C major, the semibi'eves show
the notes to be produced from the strings in their natural state, the
crotchets the notes that can be produced from the strings by the use
of the keys or stops.
As Ventura, as already mentioned, claimed to have invented an
Imperial Harp-Lute, and was a professor of the instrument, and as
an examination of the music published by him shows that his Harp-
Lute, unlike that of Light, was tuned as the Spanish Guitar, an
octave lower than the written notes, or to the pitch of the piano,
there is every reason for supposing that the Harp-Ventura, which is
an improved Harp-Lute, was tuned in a similar manner. So the
instrument ^ being furnished with suitable strings," the Harp- Ventura
is to be tuned in the following manner : —
Fix the first and second stops, which are marked respectively Eb
and Bb ; then tune the strings on the large finger-board to C, E, G ;
on the second finger-board to C, E, G, an octave higher ; and the string
on the third finger-board, C, an octave higher. Tune the bass from
the open strings on the finger-board and from the frets in octaves
downwards.
The instrument being now in the original key of C, change to the
other major keys in the following manner : —
To play in F, release the E stop, and the string will be Eb.
To play in Bb, release the E and B stops, and the strings will be
Eb and Bb.
To play in 0, the original key, ]3ress the Eb and Bb stops.
• The writer believes that Ventura, as wull as
Wheatstone, tuned his Imi)crial Harp-Lute an
octave lower than the written notes.
2 One of these instruments, when it was in
the writer's possession, had the original strings,
most of them apparently silk and wire. These
have unfortunately been removed, so the gauge
cannot be given. A competent string-maker with
the scale before liini should be able to spin suitable
strings if an instrument were sent to him for
that purpose. The writer learns from a noted
manufacturer of Guitars, that Mr. J. G. Winder,
of Kentish Town Road, is an excellent maker of
strings.
THE HAEP-VENTUEA
135
To play in G, press the Eb, Bb, and F^ stops.
To play in D, press the Eb, Bb, F#, and C# stops.
To play in A, press the Eb, Bb, F#, C#, and G|f stops.
To play in E, press the Eb, Bb, Fjj, cji, G#, and D# stops.
To play in B, press the Eb, Bb, FJf, €#, GJ, D#, and A# stops.
The length of the strings upon a specimen in the South Kensington
Museum and upon the specimen illustrated : —
NINETEEN
STRINUS.
SBVKNTEKN
3TKINGS.
3rd Finger-board,
8:^ inches.
7f inches.
2nd
Hi
>3
11t^ „
1st
20
JJ
20i „
OPEN STRINGS
NINETEEN
STRINGS.
SEVENTEEN STRINGS.
B
22|^ inches.
22^ inches.
A
22f
23i „
G
23
23|
F
23f
24i
E
241
25i
D
24f
25|
C
25i
26^
B
25|
27i
A
251
27i
G
26|
27
F
m
No string.
E
26f
No stri
ng.
On the Harp- Ventura the open strings are closely spaced, and it is
evident that it was the intention of the inventor that the open strings
should be almost always struck by the thumb. The position of the
strings as they pass the forks, in place of being, as is usual, in the
centre of the fork, being more to the right, is also an indication, sa
they can be struck with force by the thumb without jarring. It is
scarcely likely that the open strings were fingered as the Pedal-
Harp or Harp-Lute.
Carl Engel states that Ventura exhibited his invention at the
136 MUSICAL INSTEUMENTS
National Repository, Royal Mews, Charing Cross, when he played upon
it in public, so it may be concluded that in the hands of an accomplished
guitarist it may be used with much effect ; but it is heavy and rigid,
and, although strong in tone, is wanting in the harp-like quality for
which the best Harp-Lutes and Dital-Harps are noted.
The writer believes that an ingenious mechanist could perfect
Ventura's lever action so as to make it possible to produce a passing
accidental by one motion of the thumb. Were that accomphshed (and
this is worth the consideration of instrument -makers), and such
mechanism fitted to an instrument constructed as nearly as possible
on the lines of the beautiful Harp-Lute with sixteen strings by
Packer of Bath, at present in the Donaldson Museum, with widely
spaced strings and only two finger-boards, and the tone of such an
instrument equalled that of the best Harp-Lutes, an instrument vastly
superior in form and tone to the Spanish Guitar, or to any of the
small instruments at present in use, would be the result ; for, unques-
tionably, an instrument with thirteen consecutive open strings, which
could be fingered in the same manner as the Pedal-Harp, would have
great advantages over a six-stringed instrument on which an open
string is only occasionally used.
MUSIC
The writer regrets that after diligent search and frequent advertise-
ments no solo for the Harp -Ventura has been obtained. Ventura
certainly intended his instrument with a compass of four octaves for
elaborate pieces. Three songs with accompaniments are the only pieces
of music available, and these accompaniments, although simple, tend
to prove the writer's assertion that the bass is to be played by
the thumb. Most of the music already given for the Harp-Lute can be
played upon this instrument.
THE HAEP-VENTURA
137
IVith accompaniments for the Harp-Ventura.
BY ANGELO BENEDETTO VENTURA.
138
MUSICAL INSTKUMENTS
2
^ yEJ^ETH^J^ C^J^^ZOJVETT^
D.Cerutti
\d lifaitina
Canto
*' n.i 4 r. J., rv ii_ r>:_ rv;_ r»;_ o.,.
Harp Ventura
• !'■ T.m
M tuo fudo Giaco metto
Din Din Din Sentio Ca.
^
^A^^
-^-jp"
'\d libitnm
Se
«r M'
^■^
ALLEGRETTO ESPRESSIKO
^ - J,
•-a
^
^^^^
'* ' J.
rrjrm
r. r r
m
Jzrrtz
. re. ta ^ Mille vol. -te be. .ne..de..-ta sia la Mama sia la Mama ohe ti
f, .f
OTJ -CTJ h[
^
=^=F
5P
^•1 ^ '• r-j;\ !'•; i:- g ^^ ^'' i'. J' l^^
fe"' Mille vol.te mil. .le
^^=^
♦ — •■
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ille vol.te mil. .le voL.te be ne de.-ta sia L«
^'"^ihd-^
£=
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m
rr^ rr. ^•'
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ITT)^*- t^-- P^
Mama sia La Mama cheti fe" sia La Mama sia LaMamacheti fe'
f=^
THE HARP-VENTURA
139
1C=f5:
^1
r\
^
r\
^
f
^
4:
KL Din Din chesenti O cara /^ Nelrnio petto pur io sento ^o^sono
m
TEr^W
'^
Allejjrretto Kspresaivo
^0/
vi/
i^=i
r rTir- '^ r f-'i'"^ iv? rg:-^^-^'^''^^^
matto dal conten
Jt -A.
-to qiiando penso quando penso Ninaa ti
$
^
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-jf^r-p 1-.^ JJi'A^
J r r ^ ; ,ri
1»— ^ !»■
^^
i^tto sa.no matn dal C(>u__ten to quando penso quando penso Nina a
iV h-Si
llJ ' t^uJl-
U 4 '^
W
uo
USICAL INSTRUMENTS
6
^UROR.^1 CHE ^ORaSP.^!
Tlie Ceiebratecl Song in the Opera La Donna Del T,:<g;(,,
r-^jvTO fe
Rossini
^ J . jT i.r
fioi ra pir ho bar ba ra qitel
ohe
e fioi ra pir
i.
-•■ — =r-|»-
■s=— T*-
J I J
)—
^
THE HARP-VENTUEA
141
I (Ion elie el)!niio <\» te
1 r 1
til.. |)ir.
'^n'r*: ^rrrfri'tri'rrr^rirfrhri'rrr^f F
^
» «
ij' ^' 1' faj ai"^ I ^j f Q- ^ a*
#
ra quel don che ebb io quel don che ebliio fla.
dk -, f ^ 1 ^ — "p I T I
^1
i
^
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-te.
j'^f --:l£L^T^^;:[rJ- h!f-^^i
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3^=5^
142
MUSICAL INSTEUMENTS
FELLS SE M,^S PRETSJVBiI
G. Mili<-o
C^J^^TO
Fll le se mai pre., ten __.<li O r,« ehe so.
^^ '^ '-l^
-r I ^^?i i^k^ ^^
^
J J J_^J^ I J ^ ' ^
N %
'^ ^ k' 1 1^ ?• r
# ' *
Sappi
<-h'i() son fi'un j{e_.ni_-o
i
i
^^Et
J J %
WW
■zt
THE HAEP-VENTUEA
143
P
CO ^i vi_va ce e Li lie.ri) ohe
t^m-^LMj'^TO^^^-i^^'^^P
i
m
#
T
no no no no
f f i°rrr['rr^rr*r*^
^
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f m
1
P
no no non non non mi so
tur.
-bar.
144
MUSICAL INSTEUMENTS
EG A N S PO RTA BL E HARP
EGAN'S PORTABLE HARP
While Light and others were producing small instruments, the tone
of which resembled that of the Pedal- Harp, John Egan, of 30 Dawson
Street, Dublin, a celebi'ated Harp-maker,^ invented a Harp of moderate
size, but one which, although portable, is certainly not portable in the
same sense as the instruments that have already been described. Egan's
instrument, the Royal Portable Irish Harp, has much of the form of the
old Irish Harp ; it has the curved fore-pillar, but as it is small, pedals
could not be supplied, so Egan's invention was the placing of seven stops
or keys on the inner side of the curved fore-pillar, each of which,
when drawn down by the thumb of the left hand, shortens a
number of strings, and so the key can be changed without difficulty
or a passing accidental produced. These stops are arranged in the
following order— A, E, B, F, C, G, D.
The earliest of these instruments the writer has seen is No. 4,
and dated 1819. It has thirty-four strings, but three sti'ings in the
bass are without the fork action. One in the possession of Countess
Plunkett has thirty strings, one string in the treble and one in the bass
without fork action. One illustrated has thirty-two strings ; the two
lowest bass strings are without the fork action. One in the Donaldson
Museum, No. 1904, reign of George iv., has thirty-three strings, all
with fork action. One with stand, No. 1920 of the same period, has
the same number of strings, all with fork action. A few others the
writer has seen or heard of, but considering the number manufactured,
Egan's Harp is not often to be met with.
Dr. Culwich, in his valuable lecture upon Irish Melody, writes as
follows : " Perhaps the best evidence of the final and complete surrender
of Irish music to the encroachments of modern methods is the Harp
made by John Egan of Dawson Street, early in this century. This
had a full set of modulating keys worked by a set of cranks to all
' Egan is stated to have invented a double-movement Harp, and also a tri[ile-action Harp.
T
146 MUSICAL INSTEUMENTS
intents and purposes exactly like the early Pedal-Harps." ' Egan's
instrument, which is only Irish in form, supjjlied to some extent a want.
The Harp, be it remembered, was perhaps the most favourite instrument
of the period, so an instrument which could with ease be conveyed
where no Pedal- Harp was likely to be found, was an advantage. Egan's
Harp, unlike the true Irish Harp, is strung with gut, and although it
has the mechanism referred to, any person attempting to play upon it
will find that a large portion of the music published by Bunting is as
unsuitable for it as for the wire-strung Irish Harp.
On Egan's Harp, to produce a passing accidental, the left hand
must drop the strings, and only a practised performer, who can con-
centrate his or her attention upon the bass strings, for the time being,
can replace the left hand in the proper position without slowing
the time. Music in which the melody occurs in the bass, while
the accompaniment (in which accidentals occur) is in the treble, is
inadmissible, and music in which an accidental occurs in the treble,
when the bass is of importance, is equally so. Still, much beautiful
music can be altered and arranged to suit this instrument, which,
although it has not the power of the Pedal- Harp, has almost the same
sweetness of tone." Egan had imitators, and the writer has seen an
early imitation by Serguet, a London maker. Now that there is a
seeming revival of the Harp, this little instrument is in some demand,
and is again being made by Messrs. Holderness of Oxford Street,
London, by whom a number have been despatched to America.
Egan's Harp has usually a button or stud screwed to the right
side of the comb and another to the front of the lower portion of
the fore-pillar, to which a band is attached, by which band, when
passed over the right shoulder, the Harp is suspended. It also
usually has a wooden rod which, when drawn out to the necessary
' lu a complimentary notice of this instrument ^ On theSth Septemlier 1821, Mr. C. N. Bochsa,
which appeared in the London Monthly Literary a very eminent harpist and composer, wrote to
Register and Review of the Fine Arts, November Mr. Egan as follows : " 1 have great pleasure in
1822, the writer refers to it as an " improvement informing you, the Royal Port.able Irish Harp
on the simple, old Irish Harp, in rendering it invented by you has my decided ai)probation.
equal to the Pedal-Harp, without sacrificing its Its peculiar sweetness of tone, so admirably
glorious nationality; it was incapable of making adapted for accompanying the voice, the great
accidental Mats or sharps till Mr. Kgan'a invention facility of clianging the keys, and its portability
of the Royal Portable Irish Harp," etc. — Reprinted make it a desirable instrument to proficients on
in Royal Harp Director, by Charles Egan. the Pedal-Harp." — Ibid.
EGAN'S POETABLE HAEP 147
length and fastened by a screw at the back, supports the Harp.
One instrument in the writer's possession has a wooden stand with
feet attached to the end of an iron rod, which, although it renders
the instrument less portable, is certainly an advantage, for without
such a stand the instrument has no proper support. These Harps
were generally supplied in leather cases, and were probably not removed
from their cases except for use. Very prettily decorated some of these
instruments are, gold shamrocks being nicely arranged on a black, blue,
or pea-green ground.
Small Harps of the same form, but without mechanism, were also
made ; these had loop stops to the strings by which the key could be
changed. Some are very artistically decorated, even more so than any
of Egnn's the writer has examined.
As the strings of Egan's Harps were not always of the same
length, and also differed in length from those of the Single Action
Harp, and as it is not desirable that these little instruments should
be subjected to the same tension as the Pedal-Harp, strings should be
specially selected for each. As some attention has been paid to the
stringing of these instruments, the following refei'ence to the strings
that have been found to answer may be of use.
On No. 1920, the lowest string in the bass, Eb, measures 32 inches,
the cori'esponding string on a Single Action Hai-p measures 49 inches.
The highest string in the treble, Bb, measures 2^ inches, the corre-
sponding string on a Single Action Harp measures 3f inches. The
following strings have been found to answer : —
For Eb, B, silver and silk. For Bb, C, 5th octave.
For F, C, copper and silk. For C, D, 5th octave.
For G, D, silver and silk. For D, E, 5th octave.
For Ab, B, gut 5th octave. For Eb, G, 4th octave.
After which, strings gauged one-third higher than the same note upon
Erard's gauge are suitable. For an instrument the lowest string in
the bass, Eb, which measures 38 inches, and the highest string in the
treble, Ab, which measures 3|- inches; the corresponding string on the
Single Action Harp measures 4^ inches. Different strings should be
selected, and the writer suggests, as the principal difficulty is likely to
148 MUSICAL INSTIIUMENTS
occur with the lowest bass strings, that A, B, and C silk and wire without
steel centre should be tried ; the C first for the E b string, and if not
suitable moved to F or G. The B and A strings, respectively, tested
as Eb and moved up if necessary. The same with the gut strings
up to the second Eb, after which strings gauged a note higher than
the same note upon Erard's gauge will be found suitable. The chief
difficulty will be found to occur in the bass. The upper portions of
several of the bass strings, as may be seen by the illustration, cross a
portion of the fore-pillar, and even when the correct strings are selected,
a performer cannot pull these bass strings with the same force that
may be applied to the others without making the strings jar against
the fore-pillar ; so strings that wUl give as much tone as can be
expected, when so near the end of the sounding-board, and will not
jar when pulled with moderate force, are those that are required.
MUSIC
Charles Egan was the " Author of Instructions for the Boyal Portable
Irish Harp," during or before 1822. A number of national lyrics were
arranged for the instrument by the same person, who appears to have
been Professor of the Harp to H.R.H. the Princess Augusta, and also
Harpist to the Queen. This selection was published by J. Egan,
30 Dawson Street, Dublin, in 1826. In the part the writer has
examined there are eight pieces, of which Nos. 1 and 7 are Irish airs.
No. 7 has been reproduced ; but as Moore's words, " The Harp that once
through Tara's Hall " are now so associated with the melody, they have
been substituted for those entitled " The Death of Cai'olan," supplied by
Edward Dowling.
The writer has also selected a Venetian air, " Stance di pascolar,"
with some of the effective variations by V. Fiorini occasionally slightly
altered. This piece has been selected for the purpose of showing the
class of music that can be executed by a fairly proficient performer.
Irish melodies, however, without accidentals, such as those arranged
by Dr. Culwich and Mr. Owen Lloyd, also Songs of Ireland without
words, arranged by J. T. Surenne, eighty of which are without acci-
dentals, if transposed when necessary, will be found still more suitable.
EGAN'S PORTABLE HARP
149
THE HARP THAT ONCE THROUGH TARA'S HALL.
WORDS BY THOMAS MOOSE.
THE AOOOMPANIMENT, ETC., BY CHARLES EOAN.
y
VOCE
ffl
ADAGIO con Esprestione
The Harp that once ihio' Ta ras halls. The
Soul of Mil - sif shed. No« hangs as mute on Ta - ra s w.ills .\s if that soul wuti-Htcl So
Nutional Lyrics. (C; Epan)
1 without «ei1ou. luiury to Moore', bwiutlhil wonl.. tlw (ollowlng line might ho .iihrtltutc.l : " Now rMts at mote «lthlu tho,... .«11,.
■n.e Coltic harp was plarod on the lj»ct of the hon when not In uie Im '■ X\x Irieh and the Highland Hun>..' pp. Sd, M. luO).
150
MUSICAL INSTKUMENTS
THE HARP THAT ONCE THROUGH TAKA'S HALL.
r ' r
National Lyrics.
Lyrics'. (C; Eg-an)
EGAN'S POETABLE HARP
151
THE HARP THAT ONCE THROUGH TARA'S KAth.
L-iiord a - lone, that breaks ai night Its talc of ru ■ in tells Thus
n n )i ^ L
Efc=»=
F=f^=t 1^ J'^
ES^^
¥^
when sonieheatt m dig nnnt breaks, Tu show that slill she lives
National Lyrics. ( C; Eg-an)
152
MUSICAL INSTRUMENTS
THE LEGACY
AKBANGED BY R. SCHBOEDES.
ANDANTEV'*^
ia^\ff^-j-li-J-|J-j-l^^j-li-j^
;^^M4jlc^
ff^^T^f^iff^
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EGAN'S PORTABLE HAEP
163
STANCO DI PASCOLAE.
VARIATIONS BY V. FIORINI.
Andante
CON
EsPRESSlONE
m,i^i\:\j!jj\^[^!\\s^U^^\
,m '»
y'Ui ^ iji^'ij^p
^^
1
j^'iii'^u n,tV,f|| rff i^iji'i^^
f'le ;i> jm.i .r -'"trf YiTirf^m
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T
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Stanco di pascolar .
154
MUSICAL INSTKUMENTS
STANCO DI PASCOLAR.
Var: 1.
'§M\^ [j^}l I \ !^!^ Ute^^l-^g^ M
'Vii^ur UC^^LT-^nT^
EGAN'S PORTABLE HARP
155
STANCO DI PASCOLAR.
^
^4^^=L
i\-^^\j-^ O'^ ^^m
1 r
[ji''ijj 7 h Q^jj^^ta£i^.r£nfc#
156
MUSICAL INSTEUMENTS
6
Va k:S .
fe^
STANCO DI PASCOLAR.
m
^
^
Sempre piano
j'li.m ; ri I r^ .n^ ;^^ij^m
Stjnco <li pascotar
EGAN'S POKTABLE HAKP
157
STANCO DI PASCOLAE.
V A r:G.
^-.mj JiPj^^
Ui> poco pin lento e Sostennto
1 iilTT^ T fn-
r^^^^^fe
Stanco di pascolar
IN THIS VARIATION PLAY C* FOR D>.
158
MUSICAL INSTKUMENTS
a
STANCO DI PASCOLAE.
St.Mx f> (I i p.iKooTar
EGAN'S PORTABLE HARP
159
STANCO DI PASCOLAE
Staiico di pascoTar
160
MUSICAL INSTRUMENTS
MV LODGING.
ARRANGED BY R. 8CHR0EDER.
FEELING
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ADDENDA
THE APOLLO LYRE
In the Royal Scottish Museum, Edinburgh, there is one of these instru-
ments. The finger-board is without the usual supports, and there are
no " horn " terminations. Upon it is the following label, " R. Wornum,
Inv''. & Maker, Wigmore St., London." In the Victoria and Albert
Museum there is a specimen with a stand, " horn " terminations, and
supports. It has seven strings, and is by the same maker, Hanover St.,
Cavendish Square. The Lyre, amongst the same collection, which is
stated to have belonged to Marie Antoinette, has eight strings.
HARP-LUTE-GUITAR
A specimen in the Victoria and Albei't Museum has upon it
" Hariby, Maker."
LUTE
Under the heading "Light, Edward," in British Musical Biography,
by James D. Brown and Stephen S. Chatton, the following occurs :
"Concise instructions for playing on the English Lute," London.
HARP-VENTURA
By the kind permission of the authorities of the Victoria and
Albert Museum, the writer has been able to add a representation of
the instrument with the Lever Action, and also a representation of
the Lever Mechanism.
INDEX
INDEX
AcoucRTPTOPHONE, or Encliajited Lyre, 69 fool-
note.
Air, with various accompaniments, for the Guitare-
Harpe, 45.
Alaw, Bardd, author of the Welsh Harper, 69
footnote.
Apollo Lyre, the, 32, 33.
.Specimen iu the Royal Scottish Museum,
Edinburgh, of the, 161.
Augusta, Princess, jiupil of Charles Egan, 148.
Barry, maker of Harp-Guitars, 25.
Bayard, music for the Guitare-Harpe bj', 46.
Bland, J., 17.
Bochsa, C. N., harpist and composer, 146.
Bolton, Thomas, composer for the Guitar, 17, 31,
33, SO.
Bremner, John, Instruction-book for English
Guitar, by, 8.
Bremner's Tutor, picture of lady playing English
Guitar iu, 7.
British Lute-Harp, 97 (plate).
Music published for the, 115, 116.
Busby, Dr. Thomas, 25.
Concert- Room Anecdotes by, f> footnote,
73 footnote, 101.
Cadences for the Harpe-Lute, 74.
Dital Harp, 113, 114.
Caledonian Mercury of 1815, Musical Advertise-
ment in the, 77, 78.
' Capo-tasto,' 5, 31, 44.
CaruUi, Instructions for Spanish Guitar by, 33.
Chabran, F., 33.
Instructions for Harp. Guitar by, 27.
Cheltenham and Bath, R. L. Downes, Professor
of Music at, 79.
Clements, Bangor, and Co., Publishers, 30.
Concert-Room Anecdotes, 5 footnote.
Cousineau, stops on Pedal Harp used by, 67.
Culwick, Dr., 145, 148.
DiBDiN, Songs of, with Guitar-settings, 6.
Dital Harp, 97 (plate).
Cadences on the, 113, 114.
Diagram of Strings on the, 103.
Dital Harp, Exercises and Airs for the, 110-113,
117-128.
Finger-board of the, 103.
Lady playing upon the Patent, 100.
Mechanism of the, 102.
Scales on the, 109.
97, 103, 104 (plates).
Ditals, or Thumb-keys, 98.
Donaldson Museum, 136.
Egan's Portable Harp in, 145.
Harp-Lute in the, 70 (plate).
Dowling, Edward, 148.
Downes, R. L., Professor of Music at Chelten-
ham and B.ath, 79.
writer of music for the Harp - Lute,
09, 70.
Dublin, National Portrait Gallery at, 5.
Edinburgh, Keyed Guitars in, 14.
University, Instrument in, 30, 31.
Egan, Charles, Instructions for the Royal Port-
able Irish Harp by, 148.
John, Portable Harp by, 144 (plate).
Portable Harp, Melodies for, 149-160.
Engel, Carl, 32, 135.
English Guitar, Claus and Co. patent keyed, 15.
Instruction Book, by Bremner, for
the, 8.
Keyed, in Ediaburgh, 14 (plate).
Melodies for the, 18-24.
Music published for the, 16, 17.
Picture of lady playing the, 7.
Pitch of the, 13.
Scales for the, 5.
Smith's patent box for, 15.
Specimens of the, by Preston, Perry,
and Gibson, 4, 6.
FiNGER-BOARP and Scales of the Harp-Lute, 73.
of the Harp-(iuitar, 28.
of the Harp-Lute-Guitar, 57.
Fitzgerald, S. J. A., 80 footnote.
Galpin, Rev. F. W., Harp-Lute-Guitar in collec-
tion of, 53 footnote.
Gibson, W., Guitar by, 6.
Gibson and Woffington, makers of (iuitars, 6.
166
166
MUSICAL INSTEUMENTS
Glen, Harp-Lute-Guitar in collection of Messrs.
J. and R., 53 footnote.
Grisi and Mario, with the Harp-Lute, 76 (plate).
Guildhall Exhibition, 1895, 5.
Guitare-Harpe, 41.
Air with various accompaniments for
the, 45.
— — Melodies for the, 47-52.
Music published for the, 46.
Guitar, Carulli's Instructions for the Spanish, .33.
Complete Tutor, by Oswald, for the Kaglish,
8.
Diagram of Finger-board of the English, 9.
Guitar,' the Spanish, 2.
Harp, Egan's Portable, described, 145, 146.
Specimens noticed, 145.
Strings for, 147.
Harp-Guitar, 24 (plate).
Finger-board for the, 28.
Improved by Levien, 29.
Instructions by F. Chabran for the, 27.
made by A. Barry, 25.
Melodies for the, 34-40.
Picture of lady playing the, 27.
Harp-Lute, as represented by artists, 114.
Cadences for the, 74.
Described, 69,
Directions for stringing the, 71, 72.
• Finger-board and scales of the, 73.
Grisi and Mario with the, 76 (plate).
Instructions for the improved, 31.
Light's Instructions for the, 80a, SOh.
Melodies for, 81-96.
• Music published for the, 806.
with sixteen strings, 70 (plate).
Stops used on the, 67-
Thumb-key for G -string on the, 80o.
Tuning of the, 70.
Twelve-stringed, 66 (plate).
with fourteen strings, 68 (plate).
Harp-Lute-Guitar, art of playing on the, 53.
• the, 52 (plate), 53.
Finger-board of the, 57.
in collection of Messrs. J. and R. Glen,
53 footnote.
— Rev. P. W. Galpin's Collection, 53 fool-
note.
Music published for the, 56.
Preludes, etc., for the, 58-66.
Scale of the, 54.
Specimens by Hariby, of the, 161.
Harp-Lyre, invented by Edward Light, the, 77.
the, 78 (plate).
Harp, Portable, 144 (plate).
Harpsichords, Kirkman, maker of, 5.
Harp- Ventura, 128 (plate).
described, 131.
Canzonets for the, 138-143.
Mechanism, 132 (plate).
Scales of the, 133, 134.
Specificatiou for the, 120.
Hatton, J. L., 77.
Haxby, R., 17.
Holderuess (Messrs.), London, Harp-makers, 146.
Houston, R., engraver, 5.
Jones, G. , article Music, by, 5 footnote.
Diagrams of a Harp-Guitar by, 29.
Journet, H., London, 30, H footnote.
Kirkman, Harpsichord-maker, 5.
Levien, Mordacnt, of London, 26, 41.
Light, E. G., Instruction Book to the Harp-Lute-
Guitar, 5.
Edward, Inventor of musical instruments,
25 footnote.
His place of residence ; his first instru-
ment the Harp-Guitar, 25 ; his second instru-
ment the Harp-Lute-Guitar, 53 ; his third
instrument the Harp- Lute, 67 ; his fourth in-
strument the Harp-Lyre, 77 ; his fifth instru-
ment the British Lute-Harp, afterwards called
the Dital Harp, 97.
Longman, Lukey and Co., Music Publishers, 17.
Lute, scale of the, from Chabran, 30.
Lute-Harp, Britisli, or Dital-Harp, 97 (plate).
Music jjublished for the British, 115,
116.
Lyre, in Royal Scottish Museum, Edinburgh, an
Apollo, 161.
— — Music published for the, 33.
said to have belonged to Marie Antoinette,
161.
the Apollo, 32, 33.
the French, 33.
Lyres, 32.
Marella, Guitar-player and composer, 16.
Marie Antoinette, Lyre said to have belonged to,
161.
Melodies tor the Dital Harp, 119-128.
for Egan's Portable Harp, 149-160.
for the Harp-Lute, 81-96.
Guitare-Harp, 47-52.
— Knglish Guitar, 18-24
Harp-Guitar, 34-40.
Moore, 79.
INDEX
167
Morley, J. G., 30.
Music published for the British Lute-Harp, 115,
116.
English Guitar, 16, 17.
Harp-Lute, 806.
Guitare-Harpe, 46.
Harp-Lute, 79.
Harp-Lute-Guitar, 56.
Harp-Ventura, 138-143.
Lyre, 3.3.
NiECK.s, Professor, 2G Jhotnole.
Oswald, J., Guitar Tutor by, 15, 16.
Packer, <j., of Bath, improvement of Harp-Lute
by, 68, 136.
Pan-}', John, 69.
Perry, James, Guitar-maker, H footnote.
English Guitar by, 6.
Poole, T., maker of a Harp-Lute, 71 footnotf.
Powell, Miss Harriet, portrait, by Reid, 5.
Preludes, etc., for the Harp-Lute-Guitar, 58-66.
for the English Guitar, 18-22.
for the Guitare-Harpe, 43.
for the Harp- Lute, 76.
for the Dital Harp, 117.
Preston, of London, English Guitar by, 6.
Pyne, Dr. Kendriok, SO.
J. Kendriok, Catalogue of Musical Instru-
ments by, 41 footnote.
Regency Harf-Lute, the, 79.
Reid, C. , portrait of Miss Powell by, 5.
Reynolds, portrait of Hon. Mrs. Charles Yorke
by, 5.
Rutherford, David, 16.
Scales and Finger-board of the Guitar-Harpe,
42, 43.
on the Dital-Harp, lU'J.
Serguet, maker of the Portable Harp, 146.
Smith, patent box attachment for English Guitar
by, 15.
St. Martin's Lane, London, 2.
Steuart, Neil, 16.
Stewart, Sir Robert P., 1.
Stops used on French Pedal Harp, 67.
the Harp-Lute, 67.
Thackray, Airs by, for the English Guitar, 17.
Theorbo, or double-headed Lute, 30.
Thompson, C. and S. , publishers, 17.
Thumb-key for G-string on the Harp-Lute, 80a.
Trinity College, Dublin, 1.
Tuning of the Harp-Lute, 70.
Ventura, 32, 69, 70, 71.
Victoria and Albert Museum, 2, 15, 25.
Harp-Lute-Guitar in the,
161.
Wales, Princess Charlotte of, taught by Ven-
tura, 79.
Walsh, J., 16.
Wheatstone, C, additions to Harp-Lute by, 68.
Instructions for the improved Harp-Lute
by John Parry, 31.
Wilson, William, publisher, 17.
Woffington, English Guitar-maker, 6 footnote.
Wornum, R., inventor and maker of the Apollo
Lyre, 161.
Yorke, the Hon. Mrs. Charles, portrait by
Reynolds of, 109.
Printed by T. and A. Constable, Printers to His Majesty
at the Edinburgh University Press
ERRATA
P. 6, 20th line, delete "Thomas."
P. 76, title of Plate, for " Gresi " read " Grisi."
P. 132, last line, delete "both the instrument and."
P. 133, 1st line, for "are" read "is."
P. 145, 5th line from foot, read "Culwick."
P. 148, 3rd line from foot, read "Culwick.''
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